Prime Focus Launches View-D™

2D-to-3D Conversion Process Lets Filmmakers Create Stereoscopic 3D Content with Unprecedented Quality and Freedom for Filmmakers

Prime Focus, one of the world’s largest visual entertainment services groups, is proud to announce the launch of View-D™, a proprietary 2D-to-3D conversion process that allows filmmakers to efficiently create stereoscopic 3D movies from source material shot on virtually any medium. View-D™ will be introduced at international launch events in Mumbai, London and Los Angeles to unveil the Prime Focus global rebrand, in which Post Logic and Frantic Films VFX will be brought together under the Prime Focus name.

“3D moviemaking has proven to be more than a passing trend — it’s rejuvenating international box offices and giving filmmakers a new storytelling technique that enriches the movie-going experience,” said Michael Fink, CEO, Prime Focus VFX. “Prime Focus is a visual effects facility, so we’ve been calculating 3D space from 2D images for years, and developed the technology behind View-D™ after having worked on several stereo 3D shows. With View-D™, we’re offering the industry an exciting new production method to convert both library titles and new releases to terrific stereoscopic quality in considerably less time than other methods."

View-D™ was developed under the guidance of Chris Bond, President and Senior Visual Effects Supervisor of Prime Focus VFX. “We’re very excited to be offering View-D™ to the industry,” stated Bond. "With View-D™, it’s about giving filmmakers the gift of time, because our approach allows the possibility of interactive creative sessions with our stereographers, similar to a DI session. Filmmakers can also now shoot a movie with a single camera, on film, without having to be locked into digital cameras and potentially complicated stereoscopic camera rigs. View-D™ critically shortens the length of time of conversion, such that conversions can now be fit into the postproduction schedule.”

About Prime Focus
Prime Focus is a global Visual Entertainment Services group that provides creative and technical services to the film, broadcast, commercials, gaming, internet and media industries.

The group offers a genuine end-to-end solution from pre-production to final delivery – including previsualisation, equipment hire, visual effects, video and audio post-production, digital intermediate, digital asset management and distribution.

Prime Focus employs more than 1200 people with state-of-the-art facilities throughout the key markets of North America, the UK and India. Using its ‘worldsourcing’ business model, Prime Focus provides a network that combines global cost advantages, resources and talent pool with strong relationships and a deep understanding of the local markets.

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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SPI Creates Tornado Out of Spaghetti Sauce with the Help of NVIDIA Technology

Newest Sony Release “Cloudy With a Chance of Meatballs” is #1 Box Office Hit, Visual Effects Production Powered by NVIDIA Quadro Processors

NVIDIA Corporation, the inventor of the graphics processing unit (GPU), announced today that Sony Pictures Imageworks (SPI) utilized NVIDIA® Quadro® processors to accelerate animation and visual effects production of their latest hit film “Cloudy With a Chance of Meatballs”.

Opening to audiences across the U.S. on September 18th, the 3-D animated film continues to storm through the box office, grossing over $60 million in revenue since its premiere, making it the #1 film nationwide. “Cloudy With a Chance of Meatballs” continues to enthrall audiences with its groundbreaking computer animation and extensive use of visual effects created on NVIDIA Quadro professional graphics solutions. The memorable ‘spaghetti tornado’ scene includes elements rendered using SPLAT, SPI’s proprietary volumetric rendering tool designed to run on the NVIDIA Quadro GPU. Atmospheric effects rendered in SPLAT not only included dust clouds, fire and sparks, but also—for the very first time—tomato sauce.

“For visual effects artists to be most effective using computer animation tools, it’s all about the speed and especially the user experience,” explained Rob Bredow, CTO, Sony Pictures Imageworks. “When an artist can do 10 times as many iterations of an effect in the same amount of time, the quality of the end product will be that much better.”

“Our goal with leveraging NVIDIA Quadro GPUs, and other new technologies we integrate, is to make our artists’ lives better by helping them be more productive,” continued Bredow. “Renders that would have taken 45 minutes or more to run on a CPU, are now cut down to just 20 seconds on our NVIDIA GPU-based pipeline. With this system, the creative process has been transformed from tedious to fun.”

In addition to a heavily integrated GPU render pipeline, SPI has deployed NVIDIA Quadro professional solutions on all of its artists’ workstations. The power of the NVIDIA processor enabled 24 frames-per-second, real-time previews of highly complex, data-intensive scenes in Autodesk Maya, presenting animators with more accurate representations of their work.

Discussing work performed on “Cloudy With a Chance of Meatballs”, Bredow will be a featured speaker at the upcoming GPU Technology Conference in San Jose, CA, Sept. 30-Oct. 2. Bredow will participate in a panel discussion entitled “The GPU Revolution in Film Production: Report from the Battlefield,” joining industry experts from Industrial Light & Magic (ILM), Disney Feature Animation and Digital Domain.

“GPU-based render pipelines are gaining momentum, and the early adopters such as Sony Pictures Imageworks are experiencing massive speed increases and a much higher degree of interactivity,” said Dominick Spina, technology product manager, Digital Film Group, NVIDIA. “Software developers from all industries can learn from the groundbreaking GPU-based techniques that Sony has successfully employed in filmmaking.”

About NVIDIA
NVIDIA (Nasdaq: NVDA) awakened the world to the power of computer graphics when it invented the graphics processing unit (GPU) in 1999. Since then, it has consistently set new standards in visual computing with breathtaking, interactive graphics available on devices ranging from portable media players to notebooks to workstations. NVIDIA’s expertise in programmable GPUs has led to breakthroughs in parallel processing which make supercomputing inexpensive and widely accessible. Fortune magazine has ranked NVIDIA #1 in innovation in the semiconductor industry for two years in a row. For more information, see www.nvidia.com.

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Amsterdam VFX

I know there are a couple of Dutch people here on the forums and I was wondering if anyone could give me a bit of info on Amsterdam based vfx houses.

I’ve done a bit of research and this is what i’ve come up with so far:

http://condor.tv/
http://www.streamline-studios.com/
http://www.postpanic.net/
http://www.planetx.nl/site/en/
http://www.glassworksamsterdam.nl/
http://hecticelectric.nl/
http://www.theambassadors.nl/

Are there any other good post houses over there?

I’m from Amsterdam, but I only started learning/working in VFX since I’ve moved to London.

Thanks in advance,

Tom

Streetfighter IV trailer

A Second trailer for Street Fighter IV (thnx Franco!)

DVS: Skate & Create 2009

Video from DVS’ nine-day stay in the TWS Skate & Create warehouse for their Skate & Create 2009 contest. DVS teamriders: Andrew Brophy, Keith Hufnagel, Zered Bassett, Daewon Song, and MVP Torey Pudwill.
Love to see the loads of features; Behind The Scenes and especially Same Edit, Different Camera … what ever happened to the ‘Angle’ […]

Uailab: updates

Uailab updates with many new interviews/features.

Passion Pictures’ Pete Candeland: Coke Zero “Happy Kingdom”

Built atop the repertoire of his work with Passion Pictures for the Gorillaz, director Pete Candeland’s buzz reached a fever pitch with the indelible Rock Band cinematic for The Beatles.

In “Happy Kingdom” for Coke Zero, Candeland delivers the goods again and lines the court with a rich cast of characters plucked straight from medieval times. Chock-full of pizazz, “Happy Kingdom” is a spectacle— a dazzling array of eye-candy that embodies the directors flair for extravagance and lavish aesthetics into an eclectic parody of fairy-tale clichés.


Title: Happy Kingdom
Length: 1×60 with 1′45′, 1×40′, and 1×30′ CD
Client: The Coca-Cola Company
Product: Coke Zero

Agency: Ogilvy Argentina
Executive Creative Director: Gastón Bigio
Head of Art: Jonathan Gurvit
Creative Directors: Javier Mentasti, Christian Camean
Agency Producer: Laura Passalacqua

Production Co: PASSION PICTURES

DIRECTOR: Pete Candeland
Producer: Debbie Crosscup
Executive Producer: Hugo Sands, Michael Adamo
Head of CG: Jason Nicolas
VFX Supervisor: Neil Riley
Technical Direcor: Julian Hodgson
Directors Assistant: Giles Dill
Storyboarding: Kevin Dart, Kim Frederiksen
Character Design/Development: Ron Kurniawan, Pete Candeland, Dan Sumich, Mario Ucci
Production Coordinator: Crystal Crompton
Matte Painting / Backgrounds: Kim Frederiksen, Lukasz Pazera
CG Modelling: Mario Ucci, Ian Brown, Matthias Bjurstrom, Doug Lassance, Dan Sweeney, Craig Maden
Rigging: Chris Dawson, Francois Pons, Julian Hodgson
CG Animation Supervisor: Wes Coman
Animation CG: Cath Brooks, Chris Welsby, David Sigrist, Melanie Climent
Animation FX: Jamie Franks, Tommy Andersson
Art Director: Mario Ucci
Texture \Shading: Mario Ucci, Ian Brown, Sally Wilson, Rick Thiele, Matthias Bjurstrom, Melanie Climent, Craig Maden, Nico Domerego, Dan Sweeney, Doug Lassance
Lighting/Rendering: Quentin Vien, Guillaume Cassuto, Claire Michaud, Rick Thiele
Lead Compositing: Niamh Lines
Compositing: Johnny Still, John Taylor, Lee Gingold
Editor: Jamie Foord, Dan Greenway
Technique and Software: XSI for CG, AFX/Nuke for Comp
Telecine: Rushes
Sound Mix: Toby Griffin at The Jungle Group
Music: Power Solo

Posted on Motionographer

Global Warming

I recently made this small viral clip on Global Warming for World Climate Community. Unfortunately there was no economics involved and it is made in a matter of a couple of days, so bare with the SFX part.

Oh and I almost forgot. Send a lot of love and admiration to Alexa Anasuya and Christoph Drobig, the two amazing actors that agreed upon spending a day with me and Eva Kamsteeg (Hair and makeup) to do this clip. They are amazing…

And of course the good people at Kaiserbrand who let me spend the nights on their machinery, because my own was clogged away somewhere in Copenhagen.

http://www.youtube.com/watch?v=KqGXH…layer_embedded

archive script

hay
some one have script to archive nuke script?
i tried to use script from vfxshare.com
but it did not worked for me
thanks

Using the “Axis” node in Nuke

I’m going through the excellent Gnomon Nuke training DVDs to create pan-and-tile scenes. However, the DVDs are a little old they’re using Nuke 4.

In the tutorial they connect the Axis node directly to the 3D card, but I believe in Nuke 5 the axis can only be connected through a TransformGeo node?

Tell me if this is right?