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Axis Animation, creator of high-end genre animation for video game, film, television, theme parks and beyond, has partnered with design and film production company Jumbla in Melbourne to enhance its service offering, adding high-end motion graphics to the mix.

Jumbla’s most prominent project in partnership with Axis comprises of 12 design-led videos that blend motion graphics and animation for Microsoft’s Forza Motorsport 6 expansion packs, NASCAR and Apex. Each video speeds through a different period of racing — the high-velocity visuals rushing from the scratchy sepia of early head-to-heads through the neon-tinged vector lines of the 80s, and into the slick painterly visuals of modern rubber-burning drifters.

Axis Animation, executive producer, Debbie Ross comments, “Jumbla’s design and motion graphics skillset is first-rate. Working in partnership with the studio, we can add this beautifully imaginative, design-led discipline to the Axis offering, meaning even more versatile, varied, and wide-ranging work from our studio.”

Forza

Axis Animation’s relationship with Jumbla vastly deepens the available talent pool at the studio. Axis can tap into Jumbla’s group of talented motion graphics specialists, utilising their skillset to deliver design-led content of a different yet complementary nature to Axis’ traditional output.

Jumbla has provided design and motion graphics services on a number of other Axis projects, including work on Mattel’s Monster High, Amazon Studios and The Bureau of Magic’s Lost in Oz, Netflix’s Kiss Me First, and cinematics for Grey Box’s Grey Goo. Jumbla also worked on a title sequence for BBC Three’s Clique.

Jumbla, head of production, Steve Bradshaw says, “We work in close collaboration with the Axis team, almost as an extension of their team of talented artists. By leveraging our specialist creative toolset, we can bring even more flair to the excellent projects Axis is already working on.”

Jumbla is an award-winning, design-driven production studio specialising in 2D / 3D animation and motion graphics. Its clients include the BBC, MTV and ESPN. It has won numerous awards, including accolades from The Webby Awards, Bass Awards, AVPA, and One Screen New York.

Axis Animation works on numerous high-profile narrative expansions in video games and Axis Animation is part of Axis Studios alongside axisVFX and Flaunt Productions. The studio is renowned for its work on 2011’s Dead Island trailer. Since then it has worked with clients such as Riot Games, Ubisoft, and Microsoft. Recent engagements include Halo 5: Guardians and the Destiny: Rise of Iron trailer.

The post Axis Animation partners with design and film production company, Jumbla appeared first on AnimationXpress.

On 12 May, director Guy Richie’s King Arthur: Legend of the Sword hit the theatres and though it didn’t do well at the box-office, the movie was supported with a lot high quality visual effects. Ritchie has driven a bolt of trademark energy through King Arthur’s folklore, the murky grasslands and staunch stone castles fizzling with the director’s verve.

This is mythological Britain filtered through modern-day cinematic technique – not to mention some truly exceptional VFX, delivered under the watchful eye of VFX production supervisor Gavin Round.

Boasting a decade of experience in visual effects, Round has worked on numerous blockbusters, chalking up visual feasts such as Harry Potter and the Deathly Hallows and Edge of Tomorrow. He teamed with Ritchie on King Arthur to breathe new life into the classic tale of swords, sovereigns and sorcery, corralling the project’s global VFX teams around a singular vision with support from cineSync.

“I came onto King Arthur in 2014, working with VFX producer Alex Bicknell and VFX supervisor Nick Davis, who I’d worked with on Edge of Tomorrow,” he explains. “Thanks to that experience, we had an established, effective workflow in place for meeting with vendors, viewing material, and of course, using cineSync. In other words, we could hit the ground running on King Arthur.”

cineSync is a review and approval tool that lets one watch high resolution, high frame rate video in sync with anyone in the world which guarantees that one will be seeing the same frame of the same video at the same time.

Vendors of the round table

cineSync was the key on making King Arthur’s VFX a reality, given that nine separate vendors were involved in the process. Framestore stood as the lead vendor, operating out of both its London and Montreal studios. Contributions also came in from MPC’s Montreal team, Method Studios in LA and Vancouver, Scanline in Vancouver, and many more, totaling nine different studios.

Round was in the thick of the battle on King Arthur from pre to post, helping establish Ritchie’s new kingdom of myth and magic across all studios involved.

“My duties involved managing vendors, making sure the shots came in on time and that the vendors had everything they need,” recalls Round. “cineSync enabled us to review the material constantly, so we were always aware of the status of any given shot. We could see it in real-time to discuss with the vendors.”

cineSync played a large role in creation of King Arthur’s many mythical creatures, such as a nine-foot CG villain, whose creation was split between VFX vendors Framestore and MPC.

“It was a delicate process, as we had to maintain continuity between the two vendors, who were essentially building different parts of the same being,” explains Round. “We needed to constantly review and check the material back-to-back to ensure everything transitioned correctly, no matter which vendor it came from. This is the exact kind of situation where cineSync is so useful – it saves a lot on travel!”

cineSync was used almost every day in post on King Arthur, particularly towards the end of the project. “We relied on cineSync heavily during the backend of the post schedule, at which point we were ramping up and getting most of our shots through,” says Round. “We used cineSync with all the vendors involved – we knew we could rely on it.”

The sword and the cineSync

cineSync proved to be a powerful tool throughout the filmmaking process – and one that, unlike Excalibur, anyone could wield. The entire King Arthur production team fell in love with the simplicity of cineSync – in particular, VFX supervisor Nick Davis, who would make sure every VFX shot was reviewed, analysed, and improved by all vendors.

“He likes to do cineSync sessions because he can pull up a shot, make marks on it, draw on it and tell the artists exactly where he wants a creature to walk,” says Round. “We did it for the big shots and small shots alike – whatever we were working on, cineSync ensured that the sequence ended up looking much better on screen.”

For Round, King Arthur revolved around the power of cineSync, ensuring that every shot was delivered to the ultimate satisfaction of all involved: “cineSync was completely intertwined in our day-to-day workflow. It was a brilliant overall tool and made my life much simpler.”

The post With 9 VFX studios working on ‘King Arthur’, cineSync enabled constant review of the shots appeared first on AnimationXpress.

Ever wonder what goes into 2D character animation in After Effects? Well, you’re in luck! In this month’s Step by Step enjoy as Emanuele Colombo takes us through his process.