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Autodeskn Film
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Autodesk Film Solutions
Digital Entertainment Creation
Image courtesy o Universal Studios Licensing LLLP.
nce the inception o cinema, lmmakers have strived
tell stories in the most compelling manner possible,
nd technology has always had a signicant role to play.
oday, new digital processes rom digital intermediate
DI) to virtual moviemaking are transorming the way
mmakers and their teams create high-quality movientertainment. More and more studios are releasing
nimated and live-action eature lms in stereoscopic 3D
3D) ormat. Autodesk technology is designed to help
ake these new processes a more immersive experience
r the lmmaker.
hese developments require increased collaboration
roughout the moviemaking process, rom art direction
inal color grade. Thats why Autodesk oers a
omprehensive collection o collaborative, interactive,
nd stereo-capable digital entertainment creation tools
at help artists to work in parallel, to experiment reely,
nd to makeor changedecisions when it matters.
reating Stunning CG Content
utodesk Maya sotware has been at the oreront oomputer graphics (CG) use in the lm industry since
s launch over a decade ago and is a core component to
e production pipelines o many award-winning visual
eects studios the world over. With its powerul, highly
extensible eature set, Maya is suited to help with the
more complex modeling, animation, eects, and rendering
tasks required by lm projects. In addition, Autodesk
Sotimage sotware and Autodesk 3ds Max sotware
oer comprehensive CG toolsets that, depending on your
pipeline and production requirements, make them a greatchoice to use either by themselves or alongside Maya.
Autodesk also oers specialized CG applications to
help expand your creative capability and increase
production eciency:
Autodesk MotionBuilder sotware provides a real-
time, 3D interactive environment and outstanding
nonlinear character animation tools. It is an ideal
choice or animation-intensive productions, pre-
visualization, perormance animation, and director-
driven virtual cinematography.
Autodesk Mudbox sotware oers modelers and
texture artists the ability to quickly and intuitively
sculpt and paint highly-detailed models, and to
experiment non-destructively.
And, or even more value or money, you can get these
applications as part o the Autodesk Entertainment
Creation Suite with either Maya or 3ds Max.
Compositing: Putting it All Together
Its virtually impossible to get everything needed or the
nal rame o a lm in a single take or render. In most cases
tens or even hundreds o layers and passes go into the
nal image: actors need to be keyed rom blue or green
screen, garbage needs to be rotoscoped out, refection
need to be added, removed or tweaked, set extensionsneed to be created, and the subtle interaction between
layers needs to be iteratively rened to achieve the desire
look. Maya, 3ds Max, and Sotimage come with ully
eatured integrated compositing modules, helping acilitat
rapid iterations, and helping reduce time-consuming
round-tripping between 3D and 2D departments.
Whenever interactivity is o the essence, such as in a
look-design session attended by a director, or a nishing
session as the project approaches its nal crunch time
Autodesk Flame sotware provides the award-winnin
creative toolset that helps you to make instant changes
and experiment with multiple possibilities. From tracking
to keying, color correction to motion estimation, advance
timeline editing to interactive 3D compositing, Flame
oers a broad and rich toolset with great perormance.
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rading and Finishing: The Final Polish
lm productions reach their ull potential in the color
ading process. Autodesk Lustre sotware is an Academy
ward-winning digital intermediate color-grading system.
enables colorists to shape color and lighting to establish
arrative tone, realize creative intent, and help create
ylized looks. Lustre provides a rich, creative toolset
at can grade both standard and stereoscopic projects;
ers collaborative project management tools; and
tegrates tightly into an Autodesk Smoke sotware
Flame workfow.
ten, audiences get to see ootage graded with Lustre
ng beore a movie is completedin the orm o them trailers that are crucial to infuencing theater-goers
ecisions. These productions challenge their creators to
ab viewers attention and communicate the spirit o
e movie with whatever ootage happens to be available,
ten in an extremely short timerame. Thats a job ideally
ited to Smokeworking at K and above, acilities can
dit and conorm at lightning speed, while concurrently
ading in Lustre, and react to clients eedback in real-time.
Workow Media Management: Making your
peline Flow
s a long and complex road rom storyboard to screen,
nd data must travel through many tools along the way.
utodesk FBX technology is a widely used and supported
atorm-independent 3D data interchange solutions in
e industry todayenabling geometry, animation, andxtures to be eciently exchanged between Maya,
otionBuilder, 3ds Max, Sotimage, Flame, and certain
ird-party applications. And through its sotware
2009 U BISOFT. Photo Courtesy o Hybride and Ubisot Digital Arts.
developer kit (SDK), FBX provides an open ramework
to integrate both Autodesk and certain proprietary tools
into a custom pipeline.
Extensibility and interoperability are guiding principles
at Autodesk. From extensive C++ APIs (application
processing interaces), to integrated Python scripting,
to the Autodesk Wiretap API, helping data fow smoothly
through the production pipeline is always a priority.
District . 2009 TriStar Pictures, Inc. All rights reserved. Image courtesy o Image Engine.
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Solutions in Action
o matter what the projecta ull-length animated
ature, a ast-action trailer, the stereoscopic remake o
recent hit, a perectly blended set extension, digital
yrotechnic eects or even just idea exploration through
e-visualizationAutodesk has a great combination o
ols or the job.
irtual Cinematography
s the borders between lm and games become increasingly
urred, interactive technology has evolved to the point
here directors can manipulate virtual cameras within
xtured and lit 3D environments, populated with highly
etailed characters and props, in real timeor see their
G elements in the viewnder, while working on the
ve-action set. This has led to a new style in lmmaking:rtual cinematography.
Paramount Pictures, G.I. Joe: The Rise of the Cobra, Image courtesy o MPC.
James Cameron and his production company, Lightstorm
Entertainment, pioneered a new method or making visual
eects movies with advanced virtual cinematography
techniques. Using Autodesk Digital Entertainment Creation
(DEC) tools, MotionBuilder and Maya, the team created
a virtual stage or volume in which they could capture
actors perormances and apply them directly to CG
characters, while viewing the results in real-time. This unique
soundstage gave Cameron the ability to direct a high quality
CG perormance as i it were live action. Over the past
ew years, with the help o Autodesk sotware, we were
able to bring [James Camerons] vision to lie. On set, we
essentially created a live video game o each scene; we
could see what the movie was going to look like and make
adjustments right away, rather than waiting until post-production. This was in large part due to the powerul
real-time interactive capabilities o MotionBuilder, says
Nolan Murtha, digital eects supervisor at Lightstorm
Entertainment. The movie sets a new standard in
stereoscopic 3D (S3D) production, creating a compelling
story that is told as much in 3-dimensional space as it is in
time, drawing audiences deeper into the movie experience.
Stereoscopy
With stereoscopic 3D (S3D), lmmakers have another
opportunity to oer audiences a dierentiated, immersive
experience that goes beyond what they can receive rom
their home entertainment system.
Stereoscopic productions introduce an entirely new set
o challenges throughout the pipeline. With the ability
to create, manipulate, and view stereo content in Maya,
Flame, Smoke and Lustre, artists are able to make creative
decisions within the context o what the audience will
seehelping to eliminate guess work and resulting in a
greater ability to use stereo as an aid to storytelling.
And no one appreciates that better than Phil McNally
Global Stereo Supervisor at DreamWorks Animation SKGEither on our own or in concert with Autodesk, we can
develop tools in Maya that specifcally address the challenges
o stereoscopic 3D. Maya gives us the ability to see what
were doing in 3D while were doing it!
Fully Animated Feature Film
From the endearing cartoon-style characters oPlanet
51, to the hyper-real perormance animation oAvatar,
Autodesks lm solutions are well suited to the task o
creating the ully animated eature.
Once a storyline has been developed and characters
designed, artists can begin modeling in Autodesk
Mudbox sotwarewhile technical directors (TDs) are
developing powerul, reusable rigs; animators are
roughing out animations and setting up cameras; and
look developers are designing shaders and experimentin
with lighting set-ups in Maya. The collaborative, nonlinea
eatures in the tools help each team to rene their wor
iteratively to achieve the directors creative vision.
Maya and Mudbox proved to be the tools o choice at
Starz Animation according to director o photography
Kevin Adams, As a creative tool, Maya is extremely as
and robust, and it enabled us to previsualize and complete
very complex 3D animated sequences that involved
compositing 2D matte paintings, 3D animated element
and choreography, and mapping 3D projections ontoPIN VFX, Screen Gems, 2010 Sony Pictures Digital Inc.
l Rights Reserved. Bold Films.
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races, as well as camera moves, mist, explosions, and
ghting eects. Maya was absolutely the best solution
e could have used to create 9.
isual Efects
nly a decade or so ago some o the greatest stories on
arth were conned to books. Today, however, any story
n be told on lm. From the epic battle scenes oThe
ord o the Rings trilogy, to the universe oStar Trekand
e USS Enterprise, directors and visual eects supervisors
n ask their teams to create anything they can imagine,nd then seamlessly bring together the live action actors,
G elements, and practical components into one
yper-realistic image.
he reliability o the Inerno/SABRE system combined
ith the outstanding talent we have here virtually
uarantees spectacular results.Star Trekwas a magical
ombination o super powerul sotware and amazing
lent, says Eddie Pasquarello, ILMs associate visual
ects and compositing supervisor orStar Trek. According
animation director Paul Kavanagh, using the hardware
ndering tools o Maya, we were literally able to animate
0 shots in 5 days, a process that normally requires
onths or production.
rading
ometimes the nuances are so subtle that the audience
oesnt even notice thembut the lms that keep viewers
anet 51, the movie & the characters o Planet 51. 2009 Ilion Animation Studios/HandMade Films International/A3 Films/Lem Films & Chuck & Lem SL. All Rights Reserved.
most involved are the ones that have been cleverly and
meticulously graded by a talented colorist: a characters
ace is ever so slightly highlighted; something about the
aintly bluish tinge to the scene suggests the melancholy
o impending dusk. Or sometimes the changes are dramatic
lights that were there when the scene was shot are
removed, lights that werent are added, and their eect
on the rest o the scene is skillully simulated. Thats
where Autodesk Lustre color grading sotware shines.
According to Joe Matza, chie executive ocer o EFilm
As part o the EWORKS system, Lustre allows our artist
to work with tone and light , and to create environment
to push the story along, he explains. In the digital era
were really xated on picture quality. We love Lustre
because it gives lmmakers the reedom to tell the story
they want and gives EFilm the fexibility to evolve quickly
with each new digital technology.
Star Trek. 2009 Paramount Pictures. Star Trek and Related Marks and Logos are Trademarks o CBS Studios Inc.
All Rights Reserved. Photo courtesy o Industrial Light & Magic.
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railers
othing infuences theater-goers quite so much as a
ompelling trailer. And with many lm previews now
oduced at K or above, acilities need real-time, creative
ols to produce them. Not only do trailers have to be
eated beore visual eects, nal editing, and sometimes
ven principal shooting are complete, but they oten
ave to be produced in multiple ormatswith as ew
two or three days to turn them around. Thats a set
challenges that require some o the most ecient
olutions in the marketplace.
he concurrent workfow between Smoke and Lustre
elps maximize the time available or creative decision-
aking and renementmaking sure the audienceseep on coming.
re-Visualization
lmmakers continually strive to tell stories in a better,
ore compelling wayexperimenting with camera angles
nd shooting take ater take to nd the most appealing
ompositions within the rame. Thats why more and
ore lmmakers today are pre-visualizing their scenes
sing 3D tools like MotionBuilder and Maya.
We create most everything in Maya, and then we import
o those pieces into the MotionBuilder world, says
hris Edwards, chie executive ocer rom Third Floor
udios. MotionBuilder is a antastic tool in that it allowss to integrate live in the 3D environment. No other
ols that we have seen out in the marketplace have
at capability.
Previs is also a huge help in planning visual eects work
and stunts, making sure theres less to be xed in post
With the ilmmaking process becoming increasingly
nonlinear, its also helping directors explore creative ideas
and collaborate in rening their creative vision even ater
production has begun.
e Last Station. Egoli Tossell Film, Zephyr Films. Image courtesy o CinePostproduction.
The Woman with a Broken Nose. Neue MediopolisFilmproduktion, Filmhouse Bas Celik. Image courtesyo CinePostproduction.
French Roast. Pumpkin Factory, Bibo Films.
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Autodesk, ATC, FBX, Flame, Incinerator, Inerno, Lustre, Maya, MotionBuilder, Mudbox, Smoke, Sotimage, Wiretap
and 3ds Max are registered trademarks or trademarks o Autodesk, Inc., and/or its subsidiaries and/or aliates in the
USA and /or other countries. Academy Award are registered trademarks o the Academy o Motion Picture Arts and
Sciences. Python is a registered trademark o Python Sotware Foundation. All other brand names, product names, or
trademarks belong to their respective holders. Autodesk reserves the right to alter product and services oerings, and
specications and pricing at any time without notice, and is not responsible or typographical or graphical errors that
may appear in this document. 010 Autodesk, Inc. All rights reserved. BR0B1-00000 0-MZ41
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Over the past ew years, with the help o Autodesk sotware, we were able to bringJames Camerons] vision to lie. On set, we essentially created a live video game o
each scene; we could see what the movie was going to look like and make adjustmentsight away, rather than waiting until post-production. This was in large part due tohe powerul real-time interactive capabilities o MotionBuilder.
Nolan MurthaDigital Eects Supervisor
Lightstorm Entertainment