Prime Focus Software Shows Off New Software Tools at SIGGRAPH 2009

Latest Versions of Krakatoa and Deadline Unveiled at Annual Computer Graphics Confab

Prime Focus Software (formerly Frantic Films Software) will be showcasing the newest versions of its award-winning software products at SIGGRAPH 2009. This year’s annual computer graphics conference will take place at the Ernest N. Morial Convention Center in New Orleans, LA from August 3rd through August 7th. Prime Focus Software will be exhibiting from booth #3500 and will be giving attendees a sneak peek at Krakatoa 1.5, its high-volume particle renderer, and a prototype iPhone application for Deadline, Prime Focus Software’s popular render queue management tool. For more information, please visit: http://software.primefocusworld.com.

"Frantic Films VFX and Frantic Films Software were acquired by Prime Focus in 2007, and this year, we are relaunching Frantic Films Software under a new name – Prime Focus Software," said Chris Bond, president and senior VFX supervisor, Prime Focus VFX. "It’s a new name, but our product line-up and R&D team will remain the same. We are delighted to be exhibiting at SIGGRAPH again this year – it’s an opportunity to connect with our user base and learn about the tools and techniques that will shape our industry."

Prime Focus Software will unveil Krakatoa 1.5 at SIGGRAPH 2009, a major release for the high-volume point-based particle rendering, manipulation and management toolkit that enables VFX artists to create dust, smoke, silt, ocean surface foam, plasma and even solid objects, all at unprecedented speeds. The new release will include crucial performance improvements and numerous feature additions, including a new voxel engine, Magma (a node-based channel editor) and Fume FX integration. Krakatoa 1.5 will be available for purchase as of Monday, August 3rd.

Also being exhibited at the show is Deadline 3.1, the company’s hassle-free administration and rendering toolkit for Windows, Linux and Mac OSX-based render farms. In addition to collecting interested beta testers for its Deadline 4.0 beta program – which will focus on speeding up performance for 250-plus node farms – Prime Focus Software will also demo an exciting new Apple iPhone prototype application that will allow artists to control Deadline remotely anytime, anywhere.

Prime Focus will also be opening up submissions to its Krakatoa image contest at the show. Artists must submit an image or animation that follows the theme of "EARTH, WIND, AIR AND FIRE," with the winning work receiving a Prime Focus Software bundle worth $2,500. Those interested can obtain a free evaluation license of Krakatoa by filling out the license request form at http://software.primefocusworld.com/…atoa/download/. All entries must be emailed to siggraph-contest@primefocusworld.com on or before October 1st. For complete contest details, including submission formats, visit http://software.primefocusworld.com.

About Prime Focus
Prime Focus is one of the world’s largest Visual Entertainment Services groups, specialising in providing creative and technical services for the film, broadcast, commercials, music, gaming, internet and media industries. With a market capitalisation of $140m USD, it operates nine facilities in India, four in the UK and four in North America, offering clients access to a talent pool of over 600 visual effects artists worldwide.

Over the last 11 years, Prime Focus has played a pioneering role in embracing digital entertainment technologies, and today offers an end-to-end service deploying robust, best-in-class technology platforms to create a delivery pipeline that lets its customers effectively manage the creative process.

Prime Focus is a market leader in its field, ranked number one in India and number four in the highly competitive UK market. Part of its success has been due to the care and attention it pays to clients at a local level (running studios in London, Mumbai, Chennai, Hyderabad, Goa, Bangalore, Los Angeles, New York, Winnipeg and Vancouver) whilst leveraging the talent, resources and cost advantages of its global infrastructure.

Prime Focus is a public stock company with shares traded in the Mumbai and National Stock exchanges in India (Symbol – PRIMEFOCUS). Prime Focus also owns and operates Prime Focus London plc (Symbol – PFO), which is publicly traded in the LSE’s AIM market. For more information, please visit www.primefocusworld.com.

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Michael Fink directs his first Indian TV commercial for Coffy Bite

Prime Focus brings Hollywood VFX veteran to India

Michael Fink, Hollywood visual effects veteran and Academy Award winner, has directed his first Indian TV commercial for Lotte Coffy Bite candy. Fink is president, VFX Worldwide at Prime Focus, India’s leading visual entertainment services company. The Mumbai-based company was appointed by Rediffusion-Y&R and MAD Entertainment for the toffee brand’s latest TV commercial.

The commercial shows that the Coffee-Toffee argument propagated by the Coffy Bite brand has moved beyond humankind and into the realm of the animal kingdom. The ad shows two frogs – Leo and Dino – vying for a Coffy Bite. Because the frogs needed to emote and converse, they had to be completely created using CGI and visual effects, with each frog having its own unique and distinct characteristics.

Commenting on his first time experience directing a commercial in India, Michael Fink, president VFX Worldwide, Prime Focus said, “It was a delightful experience to be working on an Indian TV commercial. This is a tipping point for Indian advertising with increased exposure and involvement of global specialists in Indian advertising projects. I hope to be associated with many more challenging projects like the Coffy Bite commercial in the future.”

Fink’s direction of the Coffy Bite commercial follows his involvement on the recent McDonald’s “No Fry Left Behind” campaign for DDB Chicago, which was shortlisted at the Cannes Lions International Advertising Festival in June. Fink consulted on the McDonald’s spot, which was posted by Prime Focus in London. The global cascading of skills and talent from feature films to commercials is a key part of the Prime Focus “Worldsourcing” business model.

Merzin Tavaria, lead visual effects supervisor, Prime Focus commented, “The success of this commercial is attributed to the brilliant teamwork between Rediffusion-Y&R and Prime Focus. The creative idea developed by Rediffusion was well structured, which allowed us to execute it so realistically. In the process, we are happy to be playing a role in catapulting India into the global VFX arena.”

“The Coffy Bite commercial marks the globalization of Indian advertising,” said Namit Malhotra, founder and global CEO, Prime Focus. “We’re proud to be at the leading edge of this trend and hope to see more of this confluence of the West with Indian advertising. This process was made possible due to our Global Digital Pipeline business model, which allows us to leverage our resources and technology from across our global locations with spectacular results that were delivered on time and on budget.”

Minakshi Achan, EVP and executive creative director, Rediffusion-Y&R, South said, “It’s a pleasure to work with a team that supports and executes an idea this effectively. The idea of taking the Coffee-Toffee argument beyond our own world was interesting to begin with, and we’re pleased with the level of detailing and realization put in by the Prime Focus team.”

“Everyone loves the coffee-toffee argument but we wanted to take the story to a magical argument. This commercial captures the story most charmingly. The animation is truly world-class and brings the concept alive through a level of execution unseen so far,” says Kishore Karumbiah, creative head, Rediffusion-Y&R, Chennai.

Michael Fink received an Academy Award in 2008 for Best Visual Effects for “The Golden Compass.” His volume of work includes prestigious Hollywood projects such as “Tropic Thunder,” “X-Men,” “X2,” “Lethal Weapon 4,” “Constantine” and “Mars Attacks!”

About Prime Focus Limited (PFL)

Prime Focus Limited is India’s leading integrated end-to-end post production and visual effects services house. It offers a comprehensive spectrum of services ranging from visual effects, digital film lab (digital intermediate, high-resolution film scanning and film recording), telecine, editing, motion control and High Definition production.

Currently PFL employs nearly 1800 people and operates out of facilities in Mumbai, Chennai, Hyderabad, Goa, London, New York, Winnipeg, Vancouver and Los Angeles. PFL’s full service capabilities empower filmmakers, ad filmmakers and television producers with the latest tools and techniques to refine their work in the post production & production environment.

For more information on Prime Focus Limited please visit: www.primefocus.co.in

Disclaimer: Except for the historical information contained herein, statements in this release, which contain words or phrases such as "will", "would", "expect", "believe", and similar expressions or variations of such expressions may constitute "forward-looking statements". These forward-looking statements involve a number of risks, uncertainties and other factors that could cause actual results to differ materially from those suggested by the forward-looking statements. These risks and uncertainties include, but are not limited to, the performance of the Indian economy and of the economies of our principal international markets, the performance of the industry sectors in which our clients are based, the performance of the media and entertainment industry sector world-wide, competition, our ability to obtain statutory and regulatory approvals and to successfully implement our strategy, future levels of our growth and expansion in business, technological, changes, advancements, and redundancies, the actual demand for post production and visual effects services, or the future potential or feasibility thereof, changes in revenue, income or cash flows, our market preferences and our exposure to market risks, as well as other risks. Prime Focus undertakes no obligation to update forward-looking statements to reflect events or circumstances after the date thereof.

Production Credits:
Brand – Coffy Bite
Creative agency – Rediffusion-Y & R, Chennai
Production House – MAD Entertainment
Producer – Sunil Manchanda
Director – Michael Fink, President Visual Effects Worldwide, Prime Focus
Post production House – Prime Focus
VFX supervisor – Merzin Tavaria, Chief Creative Director, Prime Focus

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Master Key Knight Rider vfx

knight rider online has a bunch of stories and videos on Master Key Visual Effects’ work for the Knight Rider (2008) TV series.

Absolut: Anthem.

A group of artists comes together in locations around the world to create art pieces that spell out the philosophy of Absolut Vodka.

Are dobermans vs lasers good for VFX peeps?

zdepth pass question

i got exr node with few passes and i got another node with the zdepth pass

i just have to know how do i take the zdepth pass and convert him to the depth pass in the exr node

New Reel

Well I always critique other peoples reels, so I figured I would save my site some bandwidth and put myself out in the open here. Comment away, ask any questions if you have any. Hopefully you like it.

Projects are:
Drag me to Hell
Paul Blart: Mall Cop
The Muppets
E*Trade
Bedtime Stories

Attached Files
File Type: mov Reel6b.mov (22.68 MB)

PandaPanther: Pop Tarts “Flavorhood”

pandapanther_poptarts_flavorhood

PandaPanther recently posted “Flavorhood,” a magical spot for Pop Tarts and agency Leo Burnett.

Charming character designs, a lush rendering style and unabashedly adorable visual effects make “Flavorhood” unique. Directors Jonathan Garin and Naomi Nishimura’s acute attention to color and tiny aniamated details add great personality to the work.

We caught up with Jonathan for some information about the project:

Flavorhood was definitely a beast in many aspects, from both the practical and digital sides.  We went through extensive planning and prepping before we started building anything, using our original previs as a guide for real world measurements and frame counts from scene to scene. So in the end, the final picture is very close to what we originally set out to do.

It’s definitely the largest set we’ve ever built, about 16×20ft, created in sections, with little pop out holes so people could reach different areas during the shoot.  Most things in the spot are constantly changing or transforming which meant shooting multiples of passes, making for a very intricate shoot and compositing puzzle. And when you throw in everything thats coming out of 3D, it definitely kept everyone busy.

flavorhood making of

Check out the behind the scenes action for “Flavorhood.” Its just as fun as watching the final spot!


Title: PopTarts Flavorhood
Length: 30 seconds
Air Date: July 20th, 2009

Client: Kellogg Company
Agency: Leo Burnett
Agency Producer: Alethya Luiselli
Agency Creatives: PJ MacGregor, Keenan Pridmore

Production Company: PandaPanther
Directors: Naomi Nishimura & Jonathan Garin
Executive Producer: Lindsay Bodanza

Designers: Naomi Nishimura, Ari Hwang
Animation: Han Hu, Miles Southan, Jeffrey Lopez, Yong Chan Kim, Kyle Mohr
Modeling: Jon Dorfman, Ari Hwang
Rigging: Marco Burbano
Tracking: Steven Hill
Compositors: Matt St. Leger, Bashir Hamid
3D Artists: Ari Hwang, Ignacio Ayestaran, Mirelle Underwood, Jaemin Lee, JiYoung Yoo

Art Department: Junko Shimizu, Grant Guilliams, Tonya Thornton, Shinya Nakamura, Kazu Yoshitake, Keiko Miyamori, Akiko Isomoto, Kyoko Sera, Draga Susanj, Sarah Bostwick

Production Assistants: Arwita Adinegoro, Giles Sherwood, Patrick Engle, Alexis DeHart Stephens, Kenji Ryuko, Shunsuke Tsuchiya, Bindy Subdhan

Motion Control Rig Operator: Richard Coppola

Director of Photography: Carolyn Taylor

Music & Sound Design: Waveplant / Composer: Joel Corelitz
Audio Post & Sound Design: Static Studios / Engineer: Steven Vandeven

Posted on Motionographer

A different ending

An interactive short, allowing you to choose your path throughout the film. Promoting Drop the Weapons.

Hussein Chalayan

Multi-talented designer Hussein Chalayan: from fashion to photography to architecture.