Articles from: 2011

Autodesk Continues It’s Dominance

autodesk_002Those remotely familiar with graphics or animation know the name of Autodesk, the worldwide leader in software for 2D and 3D effects.  It’s Maya software gained popularity amongst amateurs through the revelation that Gollum from Lord of the Rings was created with it and spawned a younger generation to start dipping their feet into the software.  In 2009 George Lucas’s Industrial Light and Magic made it a standard staple of it’s post production process, incorporating Autodesk into many of it’s high profile films.

From that summer’s series of effects driven films have all used different versions of Autodesk’s software, from the popular Maya used for animation in the rebirth of Star Trek;  3D Studio Max for digital matte painting in Transformers 2 & 3 and Inferno to create extensive photo-realistic fluid simulations of fire and water in the latest Harry Potter’s.  All have been key components of these amazing displays of animation and effects that we marvel at.  For the majority of artists in this field this comes as no surprise as they have been using Autodesk’s software for many years, but what has been a recent surge, is the up-and-comers who are learning either in school or right out of school the vast selection of compositing and effects software Autodesk has to offer. 

Autodesk has been through is share of ups and downs over the last year from stock shares dropping in the first and second quarter of this year to finally stabilizing in the third, the company has recently come out of a restructuring and looks as strong as can be.  With more and more artists both new and old continuing to utilize it’s vast software, Autodesk looks like it will continue to hold the market place for years to come. I’ve included the Autodesk Siggraph show reel for 2009, as expected it’s very, very impressive and I’m sure there’s more than one spot you’ll recognize.

Apple’s ProRes Captures Nascar

nascarIt seems like Apple is weaving it’s way into the fast these days.  As announced last year, NASCAR Media Group  is preparing for a transition to HD, which will include a move into a new 40,000-square-foot facility in Charlotte  North Carolina. The transition will also mark NASCAR Media Group’s move to an all Apple ProRes workflow.  NMG is the primary television production company for the sport of NASCAR, is using Macs and 16 AJA Kona 3 cards for ingesting the 150 hours of multi-camera footage shot at each race. An additional 18 Kona 3 cards are used for editing playback in NMG’s 10 edit bays, as well as to handle duplication and new media, and to support field operations for the NASCAR Sprint Cup Series and NASCAR Nationwide Series.  This polishes their existing DIVArchive System by adding this new Apple Interface. 

“Bringing DIVArchive and Apple together in a unified environment will make it easy for producers and editors working in Final Cut Pro to restore content from anywhere within the system including the datatape library,” said Jeff Lowe, managing director for media and broadcast technology at NASCAR Media Group. “The flexibility of DIVArchive and our close partnership with Front Porch Digital are key to simplifying our production process and helping to secure our valuable media assets while at the same time supporting higher quality new programming by giving our staff even easier access to thousands of hours of historic clips in our archive.”

The new 3D is here and it’s name is Modo

Those of you modo500familiar with 3D animation have probably been through the arguments with colleagues about which software you prefer, Maya, 3D Studio Max, Lightwave or perhaps the very popular Cinema 4D. But a new player has arrived, one that boasts a new interface, simple and innovative controls and all the while providing the features one expects from a professional, animation program.   “Just arrived…” is a bit of an understatement, in fact the software has been around for a few years now, but has only recently started to gain some real traction.  Although I’ll admit first off that I haven’t had the full chance to explore all the functions and formalities of this little gem, I will say that it is steaming with features in both modeling and customizations.  But the real kicker here is the learning curve  and word on the street is that animation houses are testing this little program and reporting back that it’s ease of use if by far the most stream lined in the business.  This is the first piece of software to come from Luxology, a company founded recently by former Lightwave 3D stalwarts Allen Hastings, Stuart Ferguson, and Brad Peebler, and they clearly have a winner on their hands.  It seems they listened to both seasoned vets and newbie’s when designing this program and have come up with something that appeals to both.  Stewards of the business can just right in and feel right at home, while the newcomers will not have to become insomniacs just to find out how to properly spin a cube.  The one thing that is lacking with this software is creation of tutorials.  No matter where you experience level is, everyone needs a good tutorial and unfortunately the lack of such documentation or video’s is a regret for the time being, that said, it does of course come with the standard documentation that we’ve come to know, but it’s simply not enough. 

Overall it’s hard not be impressed with Modo, but I the verdict is still out on whether or not this program can make enough headway to storm the walls of Maya and other giants who have already solidified their name.  Only time will tell, but I’ve included a video below for those who are curious.  It’s pretty basic, just going through the general presets and showing what Modo has to offer out of the box.


Sony Clip Browser… export the proper way

clip browserOk, after working in the business now for many, many years I have come to the conclusion that although a lot of editors / cameraman seem to want to ‘leap’ onto the newest technologies out there, very few actually know how to use it.  Take for instance the EX camera, which these days seem to be one of the premiere choices for production shoots, along with it’s versatility on the set. it displays an impressive image.  However, as good as the camera is, when the footage comes to the editing room, most editor’s have no idea how to actually bring the footage into the editing room properly.  So here we go.
Read More