millimeter on Museum 2
Posted in: Night at the Museum 2millimeter magazine breaks down the Octopus scene in Night at the Museum: Battle of the Smithsonian.
millimeter magazine breaks down the Octopus scene in Night at the Museum: Battle of the Smithsonian.
thank’s
Herwin
Thunder Productions a independent production company in Newark, Delaware is looking for any VFX artist and/or Compositors for help with VFX shots in their current action movie short project. This is an Unpaid gig.
The type of work of that will be needed will be the creation of 3D elements and composting them into live action footage.
All work can be used in your demo reel.
All interested please email me at Thato@tpstorm.com
Plenty of New Skin Muscle in Land of the Lost, at VFXWorld.
Autodesks visual effects systems have been used to create groundbreaking entertainment, including Emmy-award-winning television programs and miniseries such as John Adams, Mad Men, Dexter and Entourage. Autodesk solutions were also used to create Academy Award winner for Best Visual Effects The Curious Case of Benjamin Button; animated movies such as Monsters vs Aliens, Madagascar: Escape 2 Africa and Waltz With Bashir and many of the most popular 2009 Super Bowl commercials such as Budweiser Fetch, Pedigree Crazy Pets and General Electric Scarecrow.
Autodesk Flare is designed to help our Flame and Inferno customers expand their businesses and handle more projects, said Autodesk Media & Entertainment digital entertainment vice president, Stig Gruman. As a software-only offering, Flare provides a cost-effective avenue to develop the next generation of creative talent and is a key building block for more productive post-production pipelines.
Award-winning visual effects studio Smoke & Mirrors UK became the inaugural Autodesk Flare customer, purchasing two licenses. Smoke & Mirrors UK CEO Penny Verbe remarked, We are very excited to be the first company to adopt Flare and embrace Autodesks new technologies and workflows, as we did in 1995 when we set up Smoke & Mirrors as the first Flame-based post-production house in London.
Within a month of launch, the roster of Flare customers has grown to include Digipost (New Zealand), WRKS bv (Holland), 1000 Volt Film (Turkey), and Lola Visual Effects (United States). In addition, Post magazine selected Flare as one of only five products at the National Association of Broadcasters (NAB) 2009 Convention to be awarded a POST PICKS, which recognizes products that represent the best of the best at NAB as selected by a team of industry professionals.
Customer Testimonials
Lola Visual Effects ⎯ Our current pipeline is based on six Autodesk Flame and Autodesk Flint systems. After viewing Flare at NAB it was a no-brainer to purchase four licenses. We have enough video input/output and desktop editing functionality with our existing Flame systems and the addition of Flare allows for a dramatic increase in productivity. The fact that the Flare user interface and functionality are based on Flame means there is no new learning curve. Its a perfect solution for our environment. ⎯Thomas Nittmann, Visual Effects Producer
Digipost ⎯ The release of Flare is timely as it coincides with the start of a very busy 18-month period for us. Our purchase of an additional Flame and two seats of Flare will enable our team of artists and producers to collaborate more efficiently by allowing larger teams of artists to work on each shift cycle and improving access for the producers to brief each artist on shot requirements. Artists are less productive working overnight shifts; the availability of these Flare seats should enable us to confine our shifts to more sociable hours. ⎯Gary Little, Managing Director
WRKS bv ⎯ Flare allows us to leverage our existing Flame investment. The toolset is instantly familiar to our Flame, Flint and Inferno artists. Flare makes it much easier for a boutique outfit like ours to finish big jobs on tight deadlines. ⎯Rene Brouwer, Owner
Smoke & Mirrors ⎯ Flare brings the capabilities of Flame at a more accessible price and helps us quickly and easily address our rapid business expansion. The floating license model, unchained from the hardware, allows us to allocate on-demand additional backup systems to our modular suites and extend project teams more manageably. ⎯Mark Wildig, CTO, and Tony Lawrence, Head of Flame
Flare 2010 Feature Highlights
Flare software is a fully compatible creative companion to Flame and Inferno visual effects software, offering a cost-effective solution to help boost productivity, expand capacity and develop talent. Helping to bridge the gap between 2D and 3D, Flare features the creative visual effects toolset of Flame and Inferno, and is intended for advanced creative tasks, such as compositing, sophisticated graphics and interactive design, as well as support tasks such as rotoscoping, retouching and dust removal, project setup and keying. Top benefits are:
Software application available with Autodesk Subscription and floating licenses for increased flexibility
Based on the Flame and Inferno batch procedural compositing environment, including the Action 3D compositing environment with advanced 3D tools such as 3D Blur and 3D Path
Multiple Flare workstations able to work collaboratively with Flame and Inferno
Support for a range of formats, including REDCODE RAW, multichannel OpenEXR and Avid DNxHD with Apple QuickTime
In addition to Flare, Autodesk Media & Entertainment has recently launched the 2010 releases of Flame and Inferno visual effects and compositing software; Autodesk Smoke and Autodesk Flint software for editorial finishing and visual effects; the 2009 Extension 1 releases of Autodesk Lustre and Autodesk Incinerator color-grading software; as well as Autodesk 3ds Max 2010 and Autodesk Softimage 7.5 software for 3D modeling, visual effects, animation and rendering.
About Autodesk
Autodesk, Inc., is a world leader in 2D and 3D design software for the manufacturing, building and construction, and media and entertainment markets. Since its introduction of AutoCAD software in 1982, Autodesk has developed the broadest portfolio of state-of-the-art Digital Prototyping solutions to help customers experience their ideas before they are real. Fortune 1000 companies rely on Autodesk for the tools to visualize, simulate and analyze real-world performance early in the design process to save time and money, enhance quality and foster innovation. For additional information about Autodesk, visit www.autodesk.com.
Autodesk, AutoCAD, Flame, Flare, Flint, Incinerator, Inferno, Lustre, Smoke, Softimage and 3ds Max are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and/or other countries. Academy Award is a registered trademark of the Academy of Motion Picture Arts and Sciences. Emmy is a registered trademark of the National Academy of Television Arts and Sciences. All other brand names, product names or trademarks belong to their respective holders. Autodesk reserves the right to alter product offerings and specifications at any time without notice, and is not responsible for typographical or graphical errors that may appear in this document.
© 2009 Autodesk, Inc. All rights reserved.
fxguide has details about an AMPAS 35mm screening of The Abyss and QA with John Bruno, Dennis Skotak, Hoyt Yeatman, John Knoll, Mikael Salomon and Lee Orloff on June 23, at 7:30 p.m. at the Linwood Dunn Theater in Hollywood.
Dutch agency These Days along with Sheffield based animation house Finger Industries have produced this heart warming viral for Friends of Glass. The animation makes up part of a well conceived campaign to encourage the use of glass over plastics and so on, because of its ability to be recycled 100%.
Hank the bottle (Although he has had many previous incarnations) acts as spokes bottle, cheer bottle and vocalist (Sorry, couldn’t squeeze ‘bottle’ in there) for his own tune which spins the yarn of his own super resilient life story.
Creating a convincing and entertaining character to head up a campaign is no easy task and in clumsy hands this can result in a head-shaking cheese-fest. But thanks to some deft lyrics writing by Paul Van Oevelen at These days and sweet animation work by Finger Industries, the result is a character and viral that really ‘warms the cockles’.
Also, make sure to check out all the letters on the accompanying website addressed to various luminaries of the showbiz world. The agency really rinse out the schwarzenegger joke that makes up the backbone of the campaign, as well coming up with a few more gems. Trying to get ‘Plastic Bertrand’ to change his name to ‘Glass Bertrand’ certainly raised a smile in the Robson household…
Concept: Paul Van Oevelen (copy), Bram Van Looveren (AD)
Creative Direction: Sam De Volder
Design: Bert Beckers, Valentijn Destoop
Development: Geoffrey De Muer, Tom De Pauw, Greg Vandevyver, Kathy Van de Gaer
Strategy: Karin De Bruyn, Tim Willems
AM/PM: Sylvie Versteylen, Liesbeth Stevens
TV-Producer: Bruno Dejonghe
Music: Thierry Van Durme
Voice: Chris Brooker
Animation: Finger Industries
im sure its simple but it evades me at the moment.
Marc Forster and MK12 teamed up once again to create this meditative animation for Swiss International Air. I was able to chat with creative director and co-founder of MK12, Tim Fisher, and ask him a few questions:
From looking at this piece it seems like it was a pretty open brief. Could you describe the origins of the project?
Marc called up to the studio one day and asked if we wanted to collaborate on a short film with him that was being commissioned by SWISS.
Many of the key concepts came from Marc’s original writing for the project, which had a very personal and introspective tone to it. We started to work within a montage-based anti-aesthetic, which we felt was an appropriate metaphor for memory and thinking
processes.It’s like a literal stream of consciousness. Or the visual equivalent of a lyric essay.
If I’m counting correctly, this is the 4th project that you have worked on with director Marc Forster. Being a company that is known for its collective mentality, how has it been working with an outside director?
Yeah, this is our fourth project with Marc. He’s really fantastic to work with. He’s got a brilliant mind and he’s really supportive of the people around him. He’s very family-oriented, in that he continues to work with the same group of folks on every film. They are an amazing and smart bunch.
We think we’ve created some of our best work with Marc and the gang- and we hope to continue to do so.
Something that I like about this animation is that one can see it’s roots in old MK12 work, yet it is a clear jump in the collective’s growth in production quality and aesthetic refinement. Do you find this to be true? What do you think is the next step for MK12?
We hope that every project reflects some level of growth from our studio. We’re pretty happy with this film and it’s creative production.
We keep on keeping on. We’ve got a couple of things coming up. We’ve got two in-house short film projects moving along at a glacial pace; both are somewhere in their own respective pre-production. We created some work for the The Beatles: Rock Band game that’ll be out in September. Otherwise, it’s summer road trips, BBQs, red beers and fun in the midwest heat.
Thank you, Tim, for taking the time to talk to us. I think I speak for a lot of people when saying that we can’t wait to see those future MK12 projects.
Brand: Swiss Airlines
Agency: Publicis
Creative: Martin Deneke
Director: Marc Forster
Production: Ping Pong Film
Producer: Peter Lehner
Director of Photography: Roberto Schaefer
Editor: Jay Nelson
Animation: MK12
Animation Production: The Ebeling Group