Didn't see this posted yet, pardon if it's a duplicate…
Pixar announced RenderMan Pro Server 15 with support for Unlimited Threading per license! Also included in the announcement is Tractor, a next-generation distributed computing solution.
Saturday, August 1, 2009
annoucing 3D-Equalizer 4
Science.D.Visions Unveils 3DEqualizer4—New Version of Industry-Standard Match Move Software
Re-Written Calculation Engine Produces 50 to 100 Times Faster Performance when Reconstructing Complex Camera and 3D Match Moves; Adds New Productivity Features and User Interface
Dortmund, GERMANY, July 31st 2009 — Science.D.Visions today announced 3DEqualizer4, the latest version of its match moving software, winner of an Academy Award® in 2002 for Technical Achievement. With a comprehensive re-write of nearly 90 percent of its core code, 3DEqualizer4 is literally a new product, and will offer visual effects artists and technical directors (TD’s) a substantially faster workflow that generates extremely precise results on multiple operating platforms including Windows, Mac OS X, and Linux. 3DEqualizer4 is available now in solid Beta, and is expected to ship in autumn 2009. For more information about purchasing or upgrades, visit: www.3dequalizer.com/index.html?site=sales&id=090623_01
Match moving is a visual effects technology that helps post production engineers insert virtual objects into real footage with the correct position, scale, orientation and motion in relation to photographed objects in a scene, so that a virtual camera move can be reproduced by relying on traditional 2D motion tracking techniques. The intent is that when the virtual and real scenes are composited together they will have the same perspective and appear seamless.
Science.D.Visions has been a pioneer of match moving software for over 12 years, with a customer list including: Weta Digital (Wellington, NZ), Cinesite (London), Double Negative (London), The Moving Picture Company (London), The Mill (London), Animal Logic (Sydney), Framestore/CFC (London), Hybride (Montr?al)—and many other studios that rely on 3DEqualizer to make cinematic magic.
“With 3DEqualizer4, the ability to customize our workflow requirements has been taken even further with the new user-definable interface and hot key shortcuts which allows our team to create their own working style,” said Lee Bramwell, Weta Digital Camera Supervisor, Wellington, New Zealand. “Additionally, the new dynamic lens distortion system in 3DEqualizer4 ensures even more accurate integration with the most difficult zoom shots. Consistently, 3DEqualizer has proven itself to be the best available solution for the wide range of tasks the Weta Digital Camera department has to deal with. Its continuing hands-on user based development makes 3DEqualizer the package that we will be relying on to keep us ahead of the game in the future,” added Bramwell.
3DEqualizer4 Features and Benefits:
3DEqualizer4 comes with many new productivity features including: new lens distortion and survey data tools, improved 2D tracking engines and a re-imagined, customizable graphical user interface to complete this extensive new re-write as one of the film industry’s most relied-upon match moving solutions.
- New calculation core—automatically computes an individual weight for each point on a frame-by-frame basis
- Lens distortion features—new "Matrix Tool" for extraction of lens distortion and focal length data from grid shots and animate-able lens distortions in relation to focal length
- Comprehensive tools for working with survey data—user friendly functions for managing line geometry that streamlines alignment process for intuitive match move workflow
- Improved 2D tracking engines—rewritten from scratch to provide more precise tracking results
- New user interface—rewritten from the ground up to support native Windows GUI
To review the fully detailed feature list for 3DEqualizer4 please visit: www.3dequalizer.com/index.html?site=products&id=080430_02
Pricing and Purchasing Information:
3DEqualizer4 is available now in Beta and is expected to ship in autumn 2009. For purchase, upgrade or educational licensing information, contact a direct sales manager for an individual consultation and pricing information at: www.3dequalizer.com/index.html?site=contact
PRESS: High-resolutions images for 3DEqualizer4 are available to the media at www.3dequalizer.com/index.html?site=download&id=090730_01
About Science.D.Visions Based in Dortmund, Germany, Science.D.Visions is an independent software company, developing technology primarily for the digital media industry. Its focus is to develop and market high-end computer graphics software combining years of production-tested knowledge in the areas of mathematics, physics and computer science. The strong research and development team at Science.D.Visions is equipped with a brain-trust to create unique, high-quality solutions that maintain essential advantages over all competing technologies on the market. The highly successful market-leading brand "3D-Equalizer" is used by countless international post-production companies around the world to generate today's most sophisticated special effects for commercials, games and feature films.
###
© 2009 Science.D.Visions. All rights reserved. 3DEqualizer and Science.D.Visiosns are trademarks of Science.D.Visions. Product features, specifications, system requirements, and availability are subject to change without notice. Oscar is a trademark and service mark of the Academy of Motion Picture Arts and Sciences. Other names are for informational purposes only and may be trademarks or registered trademarks of their respective owners.
Media Contacts:
Kevin G. Clark, (514) 754-0343, keving@kgkdpr.com
Rolf Schneider, +49 231-1675-450 rolf@sci-d-vis.com
++++++++++++++++++++++++++++++++++++++++++++++++
QUOTE SHEET:
Lee Bramwell, WETA Digital Camera Supervisor
For more than 10 years, The Weta Digital Camera department has been using 3DEqualizer to integrate CG elements in to some of the most challenging live action sequences ever created for cinema. From the beginning we realized that 3D-Equalizer gave us the most precise estimation of real world camera attributes and the most accurate camera matches of any software of its type.
The continuing development of 3D-Equalizer has helped the Weta Digital Camera department to increase the speed and accuracy of our 3D scene set ups to the point where a time estimate for a sequence is often halved without sacrificing the accuracy of the final product. The key to this speed and accuracy is the ability to customize 3D-Equalizer to suit any situation we encounter, from different cameras types, camera moves, 3D match moves, terrain generation and more.
With 3DEqualizer4 this customization has been taken even further with a new user definable interface and hot key shortcuts which allow the user to create a working environment that is tailored to their working style. In addition to this, the new dynamic lens distortion system ensures even more accurate integration with the most difficult zoom shots.
Time and time again 3DEqualizer has proven itself to be the best available solution for the wide range of tasks the Weta Digital Camera department has to deal with. Its continuing hands-on user based development makes it the package that we will be relying on to keep us ahead of the game in the future.
++++++++++++++++++++++++++++++++++++++++++
Matthew d'Angibau, Senior Lead Match mover, Cinesite U.K.
"At Cinesite we find 3DE to be consistently the best match move software for our tracking pipeline. With shots and sequences becoming ever more demanding 3de gives the user huge flexibility and control to get the job done. Its survey, reference frame and photogrammetry capabilities are fast and easy to use, making integration with Lidar and Total Station survey data seamless."
++++++++++++++++++++++++++++++++++++++++
Lafleche Dumais
Technical 3D Supervisor, HYBRIDE (a division of Ubisoft, Montr?al)
3DE has been part of Hybride’s toolbox since we’ve started working on feature film productions. We find it to be extremely reliable, easy to use, and the 3DE team offers great and always helpful technical support.
Basically, we believe it to be the most complete tracking software - giving us an edge for those “impossible” shots to track.
+++++++++++++++++++++++++++++++++++++++
Re-Written Calculation Engine Produces 50 to 100 Times Faster Performance when Reconstructing Complex Camera and 3D Match Moves; Adds New Productivity Features and User Interface
Dortmund, GERMANY, July 31st 2009 — Science.D.Visions today announced 3DEqualizer4, the latest version of its match moving software, winner of an Academy Award® in 2002 for Technical Achievement. With a comprehensive re-write of nearly 90 percent of its core code, 3DEqualizer4 is literally a new product, and will offer visual effects artists and technical directors (TD’s) a substantially faster workflow that generates extremely precise results on multiple operating platforms including Windows, Mac OS X, and Linux. 3DEqualizer4 is available now in solid Beta, and is expected to ship in autumn 2009. For more information about purchasing or upgrades, visit: www.3dequalizer.com/index.html?site=sales&id=090623_01
Match moving is a visual effects technology that helps post production engineers insert virtual objects into real footage with the correct position, scale, orientation and motion in relation to photographed objects in a scene, so that a virtual camera move can be reproduced by relying on traditional 2D motion tracking techniques. The intent is that when the virtual and real scenes are composited together they will have the same perspective and appear seamless.
Science.D.Visions has been a pioneer of match moving software for over 12 years, with a customer list including: Weta Digital (Wellington, NZ), Cinesite (London), Double Negative (London), The Moving Picture Company (London), The Mill (London), Animal Logic (Sydney), Framestore/CFC (London), Hybride (Montr?al)—and many other studios that rely on 3DEqualizer to make cinematic magic.
“With 3DEqualizer4, the ability to customize our workflow requirements has been taken even further with the new user-definable interface and hot key shortcuts which allows our team to create their own working style,” said Lee Bramwell, Weta Digital Camera Supervisor, Wellington, New Zealand. “Additionally, the new dynamic lens distortion system in 3DEqualizer4 ensures even more accurate integration with the most difficult zoom shots. Consistently, 3DEqualizer has proven itself to be the best available solution for the wide range of tasks the Weta Digital Camera department has to deal with. Its continuing hands-on user based development makes 3DEqualizer the package that we will be relying on to keep us ahead of the game in the future,” added Bramwell.
3DEqualizer4 Features and Benefits:
3DEqualizer4 comes with many new productivity features including: new lens distortion and survey data tools, improved 2D tracking engines and a re-imagined, customizable graphical user interface to complete this extensive new re-write as one of the film industry’s most relied-upon match moving solutions.
- New calculation core—automatically computes an individual weight for each point on a frame-by-frame basis
- Lens distortion features—new "Matrix Tool" for extraction of lens distortion and focal length data from grid shots and animate-able lens distortions in relation to focal length
- Comprehensive tools for working with survey data—user friendly functions for managing line geometry that streamlines alignment process for intuitive match move workflow
- Improved 2D tracking engines—rewritten from scratch to provide more precise tracking results
- New user interface—rewritten from the ground up to support native Windows GUI
To review the fully detailed feature list for 3DEqualizer4 please visit: www.3dequalizer.com/index.html?site=products&id=080430_02
Pricing and Purchasing Information:
3DEqualizer4 is available now in Beta and is expected to ship in autumn 2009. For purchase, upgrade or educational licensing information, contact a direct sales manager for an individual consultation and pricing information at: www.3dequalizer.com/index.html?site=contact
PRESS: High-resolutions images for 3DEqualizer4 are available to the media at www.3dequalizer.com/index.html?site=download&id=090730_01
About Science.D.Visions Based in Dortmund, Germany, Science.D.Visions is an independent software company, developing technology primarily for the digital media industry. Its focus is to develop and market high-end computer graphics software combining years of production-tested knowledge in the areas of mathematics, physics and computer science. The strong research and development team at Science.D.Visions is equipped with a brain-trust to create unique, high-quality solutions that maintain essential advantages over all competing technologies on the market. The highly successful market-leading brand "3D-Equalizer" is used by countless international post-production companies around the world to generate today's most sophisticated special effects for commercials, games and feature films.
###
© 2009 Science.D.Visions. All rights reserved. 3DEqualizer and Science.D.Visiosns are trademarks of Science.D.Visions. Product features, specifications, system requirements, and availability are subject to change without notice. Oscar is a trademark and service mark of the Academy of Motion Picture Arts and Sciences. Other names are for informational purposes only and may be trademarks or registered trademarks of their respective owners.
Media Contacts:
Kevin G. Clark, (514) 754-0343, keving@kgkdpr.com
Rolf Schneider, +49 231-1675-450 rolf@sci-d-vis.com
++++++++++++++++++++++++++++++++++++++++++++++++
QUOTE SHEET:
Lee Bramwell, WETA Digital Camera Supervisor
For more than 10 years, The Weta Digital Camera department has been using 3DEqualizer to integrate CG elements in to some of the most challenging live action sequences ever created for cinema. From the beginning we realized that 3D-Equalizer gave us the most precise estimation of real world camera attributes and the most accurate camera matches of any software of its type.
The continuing development of 3D-Equalizer has helped the Weta Digital Camera department to increase the speed and accuracy of our 3D scene set ups to the point where a time estimate for a sequence is often halved without sacrificing the accuracy of the final product. The key to this speed and accuracy is the ability to customize 3D-Equalizer to suit any situation we encounter, from different cameras types, camera moves, 3D match moves, terrain generation and more.
With 3DEqualizer4 this customization has been taken even further with a new user definable interface and hot key shortcuts which allow the user to create a working environment that is tailored to their working style. In addition to this, the new dynamic lens distortion system ensures even more accurate integration with the most difficult zoom shots.
Time and time again 3DEqualizer has proven itself to be the best available solution for the wide range of tasks the Weta Digital Camera department has to deal with. Its continuing hands-on user based development makes it the package that we will be relying on to keep us ahead of the game in the future.
++++++++++++++++++++++++++++++++++++++++++
Matthew d'Angibau, Senior Lead Match mover, Cinesite U.K.
"At Cinesite we find 3DE to be consistently the best match move software for our tracking pipeline. With shots and sequences becoming ever more demanding 3de gives the user huge flexibility and control to get the job done. Its survey, reference frame and photogrammetry capabilities are fast and easy to use, making integration with Lidar and Total Station survey data seamless."
++++++++++++++++++++++++++++++++++++++++
Lafleche Dumais
Technical 3D Supervisor, HYBRIDE (a division of Ubisoft, Montr?al)
3DE has been part of Hybride’s toolbox since we’ve started working on feature film productions. We find it to be extremely reliable, easy to use, and the 3DE team offers great and always helpful technical support.
Basically, we believe it to be the most complete tracking software - giving us an edge for those “impossible” shots to track.
+++++++++++++++++++++++++++++++++++++++
Indigo Renderer 2.0 Stable Released
Hi everyone, I'm pleased to announce the 2.0 release of Indigo Renderer:
INDIGO RENDERER 2.0 IS HERE
Ultra-realistic renderer is now faster, more stable and commercially supported.
Glare Technologies (Wellington, New Zealand) has released a major upgrade to Indigo Renderer, their ultra-realistic renderer. This release places Indigo in a strong position to expand its presence as a commercial product.
Indigo 2.0 features a complete rewrite of the user interface for ease of use. A new high-quality material database is available on-line for artists to use for free. The ability to render semi-transparent materials through a function known as sub-surface scattering has been accelerated.
Accuracy improvements have been made to cater for scenes that encompass vast size variations, making Indigo suitable for visualizing micro-machined parts through to giant earthmoving projects. Indigo 2.0 works with SketchUp, Blender and Cinema 4D and features re-written manuals for these packages.
While developing version 2.0, Glare Technologies offered 100 lifetime licences at the discounted price of 295€. A limited number of these licences remain available. This price represents a substantial discount to comparable renderers.
The brainchild of Wellington-based programmer Nick Chapman, Indigo Renderer generates photorealistic images from digital 3D blueprints. Nick has been developing Indigo for five years, and his focus and expertise have produced a renderer which is significantly faster and cheaper than the leading competitors.
In late 2008 Nick teamed up with Ben Nolan and formed Glare Technologies to commercialize Indigo. Glare has offices in Wellington, New Zealand. The company works with partners in Estonia, Germany, Canada and France, who produce Indigo add-ons.
“Living Room” - a render by i2cgroup. This render was generated in Blender and rendered using Indigo 2.0.8. See this render in our gallery.
“A morning” - a render by Pibuz, a designer in Padua, Italy. This render was generated in SketchUp and rendered using Indigo 2.0.8. Read more about this render in this thread.
INDIGO RENDERER 2.0 IS HERE
Ultra-realistic renderer is now faster, more stable and commercially supported.
Glare Technologies (Wellington, New Zealand) has released a major upgrade to Indigo Renderer, their ultra-realistic renderer. This release places Indigo in a strong position to expand its presence as a commercial product.
Indigo 2.0 features a complete rewrite of the user interface for ease of use. A new high-quality material database is available on-line for artists to use for free. The ability to render semi-transparent materials through a function known as sub-surface scattering has been accelerated.
Accuracy improvements have been made to cater for scenes that encompass vast size variations, making Indigo suitable for visualizing micro-machined parts through to giant earthmoving projects. Indigo 2.0 works with SketchUp, Blender and Cinema 4D and features re-written manuals for these packages.
While developing version 2.0, Glare Technologies offered 100 lifetime licences at the discounted price of 295€. A limited number of these licences remain available. This price represents a substantial discount to comparable renderers.
The brainchild of Wellington-based programmer Nick Chapman, Indigo Renderer generates photorealistic images from digital 3D blueprints. Nick has been developing Indigo for five years, and his focus and expertise have produced a renderer which is significantly faster and cheaper than the leading competitors.
In late 2008 Nick teamed up with Ben Nolan and formed Glare Technologies to commercialize Indigo. Glare has offices in Wellington, New Zealand. The company works with partners in Estonia, Germany, Canada and France, who produce Indigo add-ons.
“Living Room” - a render by i2cgroup. This render was generated in Blender and rendered using Indigo 2.0.8. See this render in our gallery.
“A morning” - a render by Pibuz, a designer in Padua, Italy. This render was generated in SketchUp and rendered using Indigo 2.0.8. Read more about this render in this thread.
New Concept Art Disney's Rapunzel
Disney Animation released a couple of concept art images of our upcoming film Rapunzel. Thought I'd share...
Marlon
Marlon
MAXON’s SIGGRAPH 2009 Presence
If you’re headed to SIGGRAPH 2009 in New Orleans be sure to stop by MAXON’s Booth # 3219, check out “The Studio”, the “Computer Animation Festival” and be sure to say “Thank You” to all those hard working Student Volunteers. There something for everyone in this years MAXON presence. Here’s a handy guide of MAXON “happenings” to help you plan your schedule.
SPEAKER PRESENTATIONS:
MAXON Booth # 3219 - Tuesday, August 4th & Wednesday, August 5th
10:00 AM – 11:00 AM
Alan Williams - Student and Design Award Winner - Savannah College of Art and Design (SCAD)
Alan, an MFA broadcast design & motion graphics student and winner of this year’s prestigious Inspire09 symposium’s ‘9 x 90 Competition’, will present his winning motion-media design project, Meditations in a Toolshed.
11:00 AM – 12 Noon
John LePore - Art Director - Perception
Focusing on the “time is money” scenario, John will be showcasing the projects Perception created under a tight deadline. Included will be an animated intro to the televised baseball games for the New York Mets, a Showtime Weeds promo, and a Microsoft Office viral web video, and more. All projects feature the tight integration between CINEMA 4D and Adobe After Effects.
12 Noon – 1:00 PM
Chris Smith - Co-founder - Sugar Films Productions
Chris will reveal some of his secrets on creating reusable tools with Xpresso, illustrating that this can be accomplished by artists who are not programmers. Chris will delve into how he created “CS Tools” his free suite of Xpresso tools, and tell attendees how they can get their hands on these exciting CINEMA 4D / Xpresso add-ons.
1:00 PM – 2:00 PM
Thomas Brown - Animation Director - Nucleus Medical Art
Thomas will present “The Making Of: Atherosclerosis”, a three-and-a-half minute-long animation that provides a realistic view of how plaque forms within a coronary artery over time.
2:00 PM – 3:00 PM
Nate Mitchell - Graphics Supervisor- Innovative Show Design (ISD)
Mark Dowling - Project Manager / Graphic Artist- Innovative Show Design (ISD)
Justin Garrone - Assistant Art Director / Lighting Designer- Innovative Show Design (ISD)
The creative team at ISD will demo the making-of several broadcast set design projects. Their process starts out with designing sets in the virtual world using CINEMA 4D and Vectorworks, then utilizing these designs to build the real world sets. Some of their most recent sets were created for Super Bowl XLIII and Poker After Dark, both for NBC, and 2009 Speed Week at Daytona 500.
3:00 – 4:00 PM
Rich Fallat – Lookdev / Texture Artist - Rhythm & Hues
Get an inside look at several creatures from "Land of the Lost" and "Night at the Museum:Battle for the Smithsonian" and learn how Rhythm and Hues Studios uses BodyPaint 3D.
4:00 PM – 5:00 PM
Tom Quach - Senior Texture / Matte Painter – Sony Pictures Imageworks
Tom will deconstruct some of the complex and stunning matte and texture painting created for the feature film “Watchmen”. This recreation will illuminate how MAXON software continues to play a pivotal role in the Sony Pictures Imageworks creative pipeline.
5:00 PM – 6:00 PM
Dr. Volker Sassmannshausen, a.k.a. Dr. Sassi, a noted CINEMA 4D power user and prolific contributor to MAXON’s online education and training resource, Cineversity, to preview, JET (Junior Extraterrestrial); a short animated feature piece he is creating in-full as a solo endeavor that concurrently documents each step in the animation process for a new series of comprehensive tutorials for the Cineversity site.
SPEAKER PRESENTATIONS:
MAXON Booth # 3219 - Thursday, August 6th
10:00 AM – 11:00 AM
Rich Fallat – Lookdev / Texture Artist - Rhythm & Hues
NOTE: For details, see above timeslot for 3 – 4 PM on Tuesday, August 4th & Wednesday, August 5th.
11:00 AM – 12 Noon
Tom Quach - Senior Texture / Matte Painter – Sony Pictures Imageworks
NOTE: For details, see above timeslot for 4 – 5 PM on Tuesday, August 4th & Wednesday, August 5th.
12 Noon – 1:00 PM
John LePore - Art Director - Perception
NOTE: For details, see above timeslot for 11 – 12 Noon on Tuesday, August 4th & Wednesday, August 5th.
1:00 PM – 2:00 PM
Thomas Brown - Animation Director - Nucleus Medical Art
NOTE: For details, see above timeslot for 1 – 2 PM on Tuesday, August 4th & Wednesday, August 5th
2:00 PM – 3:00 PM
Nate Mitchell - Graphics Supervisor - Innovative Show Design (ISD)
Mark Dowling - Project Manager / Graphic Artist - Innovative Show Design (ISD)
Justin Garrone - Assistant Art Director / Lighting Designer - Innovative Show Design (ISD)
NOTE: For details, see above timeslot for 2 – 3 PM on Tuesday, August 4th & Wednesday, August 5th
MAXON Booth Hours
Tuesday, August 4th and Wednesday, August 5th – 9:30 AM to 6:00 PM
Thursday, August 6th – 9:30 AM to 3:30 PM
ADDITIONAL MAXON participation at SIGGRAPH, includes “The Studio”, the “Computer Animation Festival” and the “Student Volunteers” program.
THE STUDIO:
MAXON will be represented in “The Studio” with a “CINEMA 4D Studio Bundle” installed on all 60 systems, for your animating convenience.
COMPUTER ANIMATION FESTIVAL:
The “Computer Animation Festival” will host two short films created with MAXON software. Betsy Kopmar’s curated “Night Fishing with Cormorants” and Nucleus Medical Art’s “ juried film “Atherosclerosis”.
Screenings schedule:
“Night Fishing with Cormorants” – Visual Music Reel 1
Monday, August 3rd
1:45 PM – 3:30 PM - La Nouvelle Orleans Ballroom
6:30 PM – 7:15 PM - Room 271-273
“Atherosclerosis” – Digital Schoolhouse Reel
Friday, August 7th
8:30 AM – 10:15 AM - La Nouvelle Orleans Ballroom
STUDENT VOLUNTEERS PROGRAM:
MAXON is once again this year participating as a donor in the Student Volunteers program, providing a full working copy of “BodyPaint 3D” to a deserving SIGGRAPH Student Volunteer.
SPEAKER PRESENTATIONS:
MAXON Booth # 3219 - Tuesday, August 4th & Wednesday, August 5th
10:00 AM – 11:00 AM
Alan Williams - Student and Design Award Winner - Savannah College of Art and Design (SCAD)
Alan, an MFA broadcast design & motion graphics student and winner of this year’s prestigious Inspire09 symposium’s ‘9 x 90 Competition’, will present his winning motion-media design project, Meditations in a Toolshed.
11:00 AM – 12 Noon
John LePore - Art Director - Perception
Focusing on the “time is money” scenario, John will be showcasing the projects Perception created under a tight deadline. Included will be an animated intro to the televised baseball games for the New York Mets, a Showtime Weeds promo, and a Microsoft Office viral web video, and more. All projects feature the tight integration between CINEMA 4D and Adobe After Effects.
12 Noon – 1:00 PM
Chris Smith - Co-founder - Sugar Films Productions
Chris will reveal some of his secrets on creating reusable tools with Xpresso, illustrating that this can be accomplished by artists who are not programmers. Chris will delve into how he created “CS Tools” his free suite of Xpresso tools, and tell attendees how they can get their hands on these exciting CINEMA 4D / Xpresso add-ons.
1:00 PM – 2:00 PM
Thomas Brown - Animation Director - Nucleus Medical Art
Thomas will present “The Making Of: Atherosclerosis”, a three-and-a-half minute-long animation that provides a realistic view of how plaque forms within a coronary artery over time.
2:00 PM – 3:00 PM
Nate Mitchell - Graphics Supervisor- Innovative Show Design (ISD)
Mark Dowling - Project Manager / Graphic Artist- Innovative Show Design (ISD)
Justin Garrone - Assistant Art Director / Lighting Designer- Innovative Show Design (ISD)
The creative team at ISD will demo the making-of several broadcast set design projects. Their process starts out with designing sets in the virtual world using CINEMA 4D and Vectorworks, then utilizing these designs to build the real world sets. Some of their most recent sets were created for Super Bowl XLIII and Poker After Dark, both for NBC, and 2009 Speed Week at Daytona 500.
3:00 – 4:00 PM
Rich Fallat – Lookdev / Texture Artist - Rhythm & Hues
Get an inside look at several creatures from "Land of the Lost" and "Night at the Museum:Battle for the Smithsonian" and learn how Rhythm and Hues Studios uses BodyPaint 3D.
4:00 PM – 5:00 PM
Tom Quach - Senior Texture / Matte Painter – Sony Pictures Imageworks
Tom will deconstruct some of the complex and stunning matte and texture painting created for the feature film “Watchmen”. This recreation will illuminate how MAXON software continues to play a pivotal role in the Sony Pictures Imageworks creative pipeline.
5:00 PM – 6:00 PM
Dr. Volker Sassmannshausen, a.k.a. Dr. Sassi, a noted CINEMA 4D power user and prolific contributor to MAXON’s online education and training resource, Cineversity, to preview, JET (Junior Extraterrestrial); a short animated feature piece he is creating in-full as a solo endeavor that concurrently documents each step in the animation process for a new series of comprehensive tutorials for the Cineversity site.
SPEAKER PRESENTATIONS:
MAXON Booth # 3219 - Thursday, August 6th
10:00 AM – 11:00 AM
Rich Fallat – Lookdev / Texture Artist - Rhythm & Hues
NOTE: For details, see above timeslot for 3 – 4 PM on Tuesday, August 4th & Wednesday, August 5th.
11:00 AM – 12 Noon
Tom Quach - Senior Texture / Matte Painter – Sony Pictures Imageworks
NOTE: For details, see above timeslot for 4 – 5 PM on Tuesday, August 4th & Wednesday, August 5th.
12 Noon – 1:00 PM
John LePore - Art Director - Perception
NOTE: For details, see above timeslot for 11 – 12 Noon on Tuesday, August 4th & Wednesday, August 5th.
1:00 PM – 2:00 PM
Thomas Brown - Animation Director - Nucleus Medical Art
NOTE: For details, see above timeslot for 1 – 2 PM on Tuesday, August 4th & Wednesday, August 5th
2:00 PM – 3:00 PM
Nate Mitchell - Graphics Supervisor - Innovative Show Design (ISD)
Mark Dowling - Project Manager / Graphic Artist - Innovative Show Design (ISD)
Justin Garrone - Assistant Art Director / Lighting Designer - Innovative Show Design (ISD)
NOTE: For details, see above timeslot for 2 – 3 PM on Tuesday, August 4th & Wednesday, August 5th
MAXON Booth Hours
Tuesday, August 4th and Wednesday, August 5th – 9:30 AM to 6:00 PM
Thursday, August 6th – 9:30 AM to 3:30 PM
ADDITIONAL MAXON participation at SIGGRAPH, includes “The Studio”, the “Computer Animation Festival” and the “Student Volunteers” program.
THE STUDIO:
MAXON will be represented in “The Studio” with a “CINEMA 4D Studio Bundle” installed on all 60 systems, for your animating convenience.
COMPUTER ANIMATION FESTIVAL:
The “Computer Animation Festival” will host two short films created with MAXON software. Betsy Kopmar’s curated “Night Fishing with Cormorants” and Nucleus Medical Art’s “ juried film “Atherosclerosis”.
Screenings schedule:
“Night Fishing with Cormorants” – Visual Music Reel 1
Monday, August 3rd
1:45 PM – 3:30 PM - La Nouvelle Orleans Ballroom
6:30 PM – 7:15 PM - Room 271-273
“Atherosclerosis” – Digital Schoolhouse Reel
Friday, August 7th
8:30 AM – 10:15 AM - La Nouvelle Orleans Ballroom
STUDENT VOLUNTEERS PROGRAM:
MAXON is once again this year participating as a donor in the Student Volunteers program, providing a full working copy of “BodyPaint 3D” to a deserving SIGGRAPH Student Volunteer.
DVD Training - Coming Soon from Pilgway
Here's the official press release!!:
Pilgway is proud to announce the 'Official Guide' to Voxel Sculpting in 3D-Coat. This video is a mind blowing 20+ hours of training packed on two DVD's.
Before we discuss the Voxel training, let's talk about the artist.
Javis Jones is a self-taught freelance 3D Generalist hailing from the city of Portland, Oregon. You may have seen some of his work on SpinQuad, CG Society, NewTek or on 3D-Coat's forums where he provides tireless support and is working on the 3D-Coat video manual. Javis has worked closely with Pilgway on features and future revisions on 3D-Coat and is currently working on a DVD training series for the 3D-Coat application.
Gideon Klindt designed the character used in this project based DVD, the futuristic Alas Armor Suit. You can find more outstanding character designs and artwork from Gideon at (www.gideonklindt.com).
Okay, now lets discuss this mega sized, 2 disk, 20+ hour, mind blowing DVD that is designed to get you not just up to speed on Voxel sculpting, but will have you sculpting with Voxel's confidently on your next project.
What is Voxel sculpting? Glad you asked?
Voxel sculpting is only the coolest thing implemented to 3D since NURBS. Voxel sculpting allows you to sculpt any details, unlimited topological flow with out any constraints. That's right, unlimited artistic control of your objects, creatures, characters or what ever you're sculpting. No other package gives you this kind of limitless control and freedom. 3D-Coat truly unleashes your artistic ability and this DVD will help you understand 3D-Coats powerful Voxel's.
What your still here, okay well the DVD specifications are below, but since it is QuickTime video files, it will play on any computer.
So, when is the DVD coming out you ask? How about next week! That soon enough for you?
SPECIFICATIONS:
DVD-ROM Requirements:
1GHz or faster processor, 512 MB RAM, 64 MB Video RAM, DVD-ROM Drive, 5GB of hard disk space, 1280 x 1024 display
DVD-ROM and Digital Download Requirements:
This DVD is not offered as a download due to it's massive size, come-on, you don't want to download 7 Gigs do you? Did you see the cover of this DVD, imagine that bad boy sitting on your shelf, now that would look sick.
Software:
QuickTime Movie Player (Version 7.0 or higher), Acrobat Reader (Version 5.0 or higher), Microsoft® Windows® Vista®, Microsoft® Windows® XP Professional, Microsoft Windows 2000 Professional, Apple® Mac® OS X 10.2
PS- Please, do not derail this thread with anything that is OFF TOPIC. Thanks.
Pilgway is proud to announce the 'Official Guide' to Voxel Sculpting in 3D-Coat. This video is a mind blowing 20+ hours of training packed on two DVD's.
Before we discuss the Voxel training, let's talk about the artist.
Javis Jones is a self-taught freelance 3D Generalist hailing from the city of Portland, Oregon. You may have seen some of his work on SpinQuad, CG Society, NewTek or on 3D-Coat's forums where he provides tireless support and is working on the 3D-Coat video manual. Javis has worked closely with Pilgway on features and future revisions on 3D-Coat and is currently working on a DVD training series for the 3D-Coat application.
Gideon Klindt designed the character used in this project based DVD, the futuristic Alas Armor Suit. You can find more outstanding character designs and artwork from Gideon at (www.gideonklindt.com).
Okay, now lets discuss this mega sized, 2 disk, 20+ hour, mind blowing DVD that is designed to get you not just up to speed on Voxel sculpting, but will have you sculpting with Voxel's confidently on your next project.
What is Voxel sculpting? Glad you asked?
Voxel sculpting is only the coolest thing implemented to 3D since NURBS. Voxel sculpting allows you to sculpt any details, unlimited topological flow with out any constraints. That's right, unlimited artistic control of your objects, creatures, characters or what ever you're sculpting. No other package gives you this kind of limitless control and freedom. 3D-Coat truly unleashes your artistic ability and this DVD will help you understand 3D-Coats powerful Voxel's.
What your still here, okay well the DVD specifications are below, but since it is QuickTime video files, it will play on any computer.
So, when is the DVD coming out you ask? How about next week! That soon enough for you?
SPECIFICATIONS:
DVD-ROM Requirements:
1GHz or faster processor, 512 MB RAM, 64 MB Video RAM, DVD-ROM Drive, 5GB of hard disk space, 1280 x 1024 display
DVD-ROM and Digital Download Requirements:
This DVD is not offered as a download due to it's massive size, come-on, you don't want to download 7 Gigs do you? Did you see the cover of this DVD, imagine that bad boy sitting on your shelf, now that would look sick.
Software:
QuickTime Movie Player (Version 7.0 or higher), Acrobat Reader (Version 5.0 or higher), Microsoft® Windows® Vista®, Microsoft® Windows® XP Professional, Microsoft Windows 2000 Professional, Apple® Mac® OS X 10.2
PS- Please, do not derail this thread with anything that is OFF TOPIC. Thanks.
The German - New Short film by Nick Ryan
I recently completed my second short film 'The German', starring Toby Kebbell (Control, RocknRolla and the up-coming Prince of Persia) and Christian Brassington (Elisabeth: The Golden Age and Easy Virtues). I wrote and directed the film.
www.thegermanmovie.com
The blurb!
November 1940, during the greatest conflict man has ever known, an epic duel unfolds between two ace pilots, each willing to take the match to it’s ultimate conclusion. Unknown to the pilots is a fate neither has considered.
The German is a war story seen through the eyes of RAF officer A C Barton (Kebbell) who will take his fight to the very end. The singleminded desire for revenge drives Barton, but when it comes face to face, can he pull the trigger?
Shot on 35mm (anamorphic), and posted at 2K, the opening of the film is an aerial battle between a British Spitfire and a German Me 109, all of which I completed here at Image Now Films over a six month period. This is a combination of Live action/stills and fully CGI shots.
I have made up a website for the film, which has a trailer and effects breakdowns and a small behind the scenes clip. I have also written a little about the process involved.
Pretty much like the my last short film, A Lonely Sky, the film was made on a relatively small budget (70K euro). It was funded by the Irish Film Board, under a short film scheme they run.
While that sounds a lot, when broken down under the regulations for filming, it all disappears very quickly. The Effects budget was a big fat zero, so a lot of long hours again.
Unfortunately I can't put the film on the web yet, because of film festivals. It was selected for Palm Springs, and LA Shorts as well as the San Paulo film festival.
Please let me know what you think.
Thanks
Nick
www.thegermanmovie.com
The blurb!
November 1940, during the greatest conflict man has ever known, an epic duel unfolds between two ace pilots, each willing to take the match to it’s ultimate conclusion. Unknown to the pilots is a fate neither has considered.
The German is a war story seen through the eyes of RAF officer A C Barton (Kebbell) who will take his fight to the very end. The singleminded desire for revenge drives Barton, but when it comes face to face, can he pull the trigger?
Shot on 35mm (anamorphic), and posted at 2K, the opening of the film is an aerial battle between a British Spitfire and a German Me 109, all of which I completed here at Image Now Films over a six month period. This is a combination of Live action/stills and fully CGI shots.
I have made up a website for the film, which has a trailer and effects breakdowns and a small behind the scenes clip. I have also written a little about the process involved.
Pretty much like the my last short film, A Lonely Sky, the film was made on a relatively small budget (70K euro). It was funded by the Irish Film Board, under a short film scheme they run.
While that sounds a lot, when broken down under the regulations for filming, it all disappears very quickly. The Effects budget was a big fat zero, so a lot of long hours again.
Unfortunately I can't put the film on the web yet, because of film festivals. It was selected for Palm Springs, and LA Shorts as well as the San Paulo film festival.
Please let me know what you think.
Thanks
Nick
Durian Open Movie DVD pre-sales started
The next Blender Open Movie project, Project Durian, has begun its DVD pre-sale campaign:
The DVD pre-sales will help fund the project, and anyone ordering prior to September 15th will get their name in the credits of the movie. The project is slated to begin production in early October, with the goal of creating an "epic" animated short with badassery and action.
Like the previous projects, one of the primary goals is to push and stimulate Blender development through its use in a demanding production envrionment. Durian will be using the still-in-development Blender 2.5.
Upon completion, the movie and production files will be released under Creative Commons for everyone to use freely.
This time around the DVD release will be a triple-DVD set, including:
The DVD pre-sales will help fund the project, and anyone ordering prior to September 15th will get their name in the credits of the movie. The project is slated to begin production in early October, with the goal of creating an "epic" animated short with badassery and action.
Like the previous projects, one of the primary goals is to push and stimulate Blender development through its use in a demanding production envrionment. Durian will be using the still-in-development Blender 2.5.
Upon completion, the movie and production files will be released under Creative Commons for everyone to use freely.
This time around the DVD release will be a triple-DVD set, including:
- The movie (approx 6-8 min) in best DVD quality widescreen format (disks in both NTSC and PAL).
- The HD version of the movie (.avi and/or .mov).
- A third disk with a lot of video tutorials by the artists and developers.
- All .blend files, models, textures, and so on… the material used to create the movie.
- The original script, breakdown, storyboards.
- Documentation and other tutorials by the team members about all technical aspects the movie; like how to re-use assets, animate characters, or add new shots.
- And other extras that are yet to be decided (things like commentary tracks, making-of documentary, outtakes, etc.)
Lee Unkrich Talks Toy Story 3 and Beyond!
The Pixar filmmakers who attended Comic-Con this year had to shut down questions about the further plot of Toy Story 3, and understandably so.
That’s why some of the recent interviews with Lee Unkrich, as interesting and well spoken as he is, aren’t all that informational to long time fans. The folks at Collider took that into mind when interviewing Lee Unkrich about his highly anticipated upcoming movie… and beyond! Enjoy the video below featuring the long time Pixarian talking about what he collects, Pixar’s Blu-rays and the status of his Pixarian colleagues among other great topics:
Stay tuned, we’ll bring you more great interviews like this once they’re made available.
That’s why some of the recent interviews with Lee Unkrich, as interesting and well spoken as he is, aren’t all that informational to long time fans. The folks at Collider took that into mind when interviewing Lee Unkrich about his highly anticipated upcoming movie… and beyond! Enjoy the video below featuring the long time Pixarian talking about what he collects, Pixar’s Blu-rays and the status of his Pixarian colleagues among other great topics:
Stay tuned, we’ll bring you more great interviews like this once they’re made available.
Imageworks Open Source
http://opensource.imageworks.com/
Open Source: It's always been a part of what makes Imageworks tick. However, up until now we haven't had a chance to contribute back to the open source community. We're beginning to change that now.
We've chosen 5 projects to release as open source. This software can be freely used by large and small studios around the world. We've intentionally chosen popular non-restrictive licensing models to help ensure you have lots of options.
Each of these projects have passionate people behind them who are interested in seeing the code widely used. We're into the idea of building small development communities around this code. If you're interested in contributing, join the respective mailing lists and introduce yourself.
Take a moment to familiarize yourself with Imageworks' open source offerings. I hope you find something useful.
Rob Bredow
CTO
Sony Pictures Imageworks
Open Source: It's always been a part of what makes Imageworks tick. However, up until now we haven't had a chance to contribute back to the open source community. We're beginning to change that now.
We've chosen 5 projects to release as open source. This software can be freely used by large and small studios around the world. We've intentionally chosen popular non-restrictive licensing models to help ensure you have lots of options.
Each of these projects have passionate people behind them who are interested in seeing the code widely used. We're into the idea of building small development communities around this code. If you're interested in contributing, join the respective mailing lists and introduce yourself.
Take a moment to familiarize yourself with Imageworks' open source offerings. I hope you find something useful.
Rob Bredow
CTO
Sony Pictures Imageworks
Brand New RenderMan Site is Now Live
It is an event when Pixar’s website is updated, and an even bigger one when a major portion is redesigned!The RenderMan portal of Pixar.com has just launched with a brand new design. The industry standard in rendering has been the leader for over 20 years and this website celebrates how truly epic that is! Included in the page is information for professionals and curious fans alike.
In the "What’s RenderMan?" section you’ll find information about the product itself such as awards it’s won/movies it’s been used for, specific technical specifications, FAQs and more. As you delve further into the site you’ll notice a selection of RenderMan products and links with information for purchasing titled: "The Tools." There’s also a "News" area featuring press releases, testimonials and the such. Finally you’ll see the "Support" section which is meant for those in the industry who have purchased the software.
There’s lots to look at but remember, much of the facilities on this branch of Pixar.com are meant for professionals only, so I’d advise you to please respect that.
Related: Speaking of websites, Jim Hill Media is reporting that Disney has just registered the domain MONSTERS2.COM, clearly another clue pointing towards the rumored sequel.
CG Proshop - 3D.sk Reference DVDs
Finally we have released Absolute, this new range of 3D.sk reference DVDs contains hundreds of photos.
Please follow the links -
3D.sk - Absolute 01 - RUGGED SKIN - Photo Textures
3D.sk - Absolute 02 - MONSTERS - Insect Photo Reference
As always if you have any questions please email me sue@ballisticmedia.net
Ta
Sue
Autodesk Assistance Programme for unemployed
Recognising the impact of today’s economic challenges and the need for unemployed architects, designers and engineers to maintain and develop their skills to stay competitive, Autodesk is launching the Autodesk Assistance Programme.
The programme will provide design software tools, education and resources to help redundant professionals enhance and progress their 3D design technology abilities. It offers free* student software term licences enabling participants to experience the latest product releases, free online training plus reduced cost formal training and certification.
““The economic downturn has affected almost everyone, including large parts of design, engineering and construction industries,” says Pete Baxter, senior director, Autodesk Northern Europe. “Autodesk has a tradition of supporting the needs of its customers and the Assistance Programme is a fast-track route for industry professionals to keep up with new developments, use their time constructively to prepare for when the economy improves and significantly increase their chances of re-employment in the short term”.
Autodesk Assistance Programme tools and resources will be made available through an online portal (www.autodesk.co.uk/assistance), where users can access:
Free software licence: Any 13-month term student licence of selected Autodesk solutions including AutoCAD, Autodesk Revit Architecture, Autodesk Inventor Professional, AutoCAD Civil 3D, 3DS Max and more. Available as an online download only.
- Free online training: On-demand training available 24 hours a day, 7 days a week provided online.
- Reduced-cost classroom training: Many Autodesk Authorised Training Centre (ATC) partners are offering classroom training at their training facilities either free or at a significantly reduced fee. Classes and fees are subject to scheduling and availability.
- Certification: Certification preparation and exams are available at discounted rates through Autodesk Authorised Certification Centres.
- Free access to Autodesk University Online, a web portal with more than 1,000 recorded sessions.
The Autodesk Assistance Programme is available until 31 March 2010 and is open to anyone who has worked in the architecture, engineering, design or manufacturing industry but is currently unemployed. Those eligible should visit www.autodesk.co.uk/assistance to register and click on the ‘Training’ tab to locate their nearest Authorised Training Centre and Certification Centre.
Autodesk currently also provides training and online resources to end users through Autodesk University Online (AU Online), Autodesk User Group International (AUGI), various online industry communities and the Autodesk YouTube Channel.
*Free products are subject to the terms and conditions of the end-user licence agreement that accompanies download of the software.
Teesside’s Animex Awards - call for entries
PRESS RELEASE
Organisers of the Animex Awards at Teesside University are welcoming work from animation students across the globe.
The awards are held as part of the annual Animex Festival of Animation & Computer Games, which this year celebrated its tenth anniversary.
In the six years that the competition has been running alongside the festival entries have flooded in from students across North America, Asia and across Europe.
Justin Greetham, Head of the Animex Awards, said: “Whichever way we look at it, it’s always great to see new work being submitted to Animex Awards from educational establishments which are new to this field.
“For those students and educators working with stop motion animation, Animex is one of the few competitive events which recognises and rewards stop motion animation techniques.
“Animex supports 2D and 3D animation, stop motion, motion graphics, visual effects and experimental animation techniques.”
For more information about entering the Animex Awards visit the Animex website at www.animex.net/awards. Closing date for entries is October 1.
Organisers of the Animex Awards at Teesside University are welcoming work from animation students across the globe.
The awards are held as part of the annual Animex Festival of Animation & Computer Games, which this year celebrated its tenth anniversary.
In the six years that the competition has been running alongside the festival entries have flooded in from students across North America, Asia and across Europe.
Justin Greetham, Head of the Animex Awards, said: “Whichever way we look at it, it’s always great to see new work being submitted to Animex Awards from educational establishments which are new to this field.
“For those students and educators working with stop motion animation, Animex is one of the few competitive events which recognises and rewards stop motion animation techniques.
“Animex supports 2D and 3D animation, stop motion, motion graphics, visual effects and experimental animation techniques.”
For more information about entering the Animex Awards visit the Animex website at www.animex.net/awards. Closing date for entries is October 1.
Review: Professional MEL Solutions for Production
Let‘s not beat about the bush here, MEL scripting is hard. Any book that hopes to give the middle level animator or artist a leg up into understanding the realms of what being a TD really means has, therefore, got to be accessible. Being somewhere between intermediate and advanced, I‘ll happily admit to not knowing everything about my weapon of choice, I sometimes find that books on areas of CGI, specifically those in relation to scripting, are either too condescending or too high handed. Thankfully for everyone, Professional MEL Solutions for Production is neither.
The book begins by discussing scripting editors, the Maya Script Editor being woefully inadequate as most people who use it will know. It then pulls you into the process of understanding the usage of MEL‘s commands, then pushes you quite quickly into the creation of GUI‘s or windows containing these commands. It carries on by going through the process of scripting an improved Bookmark Manager whilst impressing upon the reader the importance of clean, annotated scripts. At this point the reader will know that this book has been written to improve upon a busy pipeline. It is after this point that the weaker of the wannabe technical directors may find their vision blurring and thoughts turning to putting the kettle on. From this point, the GUI creation is predominantly procedure driven and we begin to get into some very in-depth programming. The book tells us in line-by-line detail how to make an extensive Layer Manager and then covers Recursion, or the process of calling a procedure within itself. The last section of the book is the most intense scripting I have ever had to digest, without a doubt, and although I understood much of it, some parts took quite a while to truly sink in – in fact, some of them are still trying to.
Not for the faint hearted, the book covers topics in an informative and extensive manner. Thankfully Kevin Mannens and Ed Caspersen bring a colloquial style into play which helps the reader to get through the really heavy bits. For example, much later on the scripting goes up a serious notch, not surprising given that it has been created by a C++ programmer. After a second or two of concern over my ability to take it all in, the moment of worry was dispelled as I laughed out loud on reading that the concept for the script, anno.mel, designed for annotating the timeline with frame locked text strings, came when the programmer, “saw the need for this tool…in a caffeine induced hallucination after 52 hours of consecutive lipsynching.” The breaking of the hefty lumps of MEL scripting with this humour really takes the edge of the brain dump you know you are going to get. Anyone who names a chapter heading as ‘First Blood’ is well aware of how hard this subject can be and wants to make it as painless as possible.
To really get into this subject matter, you need to throw in an awful lot of your time, but at least with Professional Mel for Production you have a book which, although chock-a-block full of info, is actually a really good read.
VERDICT
A good book covering difficult topics with gentle hand holding and good humour.
SCORE: 9/10
DETAILS
ISBN-13: 978–1-59822–066-7
ISBN-10: 1–59822-066–7
Pages: 549
PRICE
$44.95 / £27.25* / €31.63*
*Currency conversion
CONTENTS
1. Under The Hood (pg. 1)
2. Conditional Statements, Iterations, and Procedures (pg. 33)
3. First Blood (pg. 59)
4. Hands-On MEL Coding: km_bookmarkManager(pg. 83)
5. Hands-On MEL Coding: km_debrisCreator. (pg. 115)
6. Scene Management with ewc_extendedLayerManager (pg. 159)
7. Recursion (pg. 363)
8. MEL and Expressions (pg. 425)
9. Annotating the Timeline: anno.mel (pg. 465)
10. Index (pg. 541–547)
PUBLISHER
Wordware Publishing Incorporated
www.wordware.com
AUTHOR
Kevin Mannens: www.td-college.com
Project Durian Pre-Sales started
Hot on the tail of Big Buck Bunny, the next open movie project has started pre-orders to fund the project itself. If you pre-order before Sept. 15th, you can get your name in the credits too.
These movies are completely open content, so all you 3d artists can pull them apart and see exactly how it was built. I personally can't wait.
http://digg.com/software/Durian_pre..._in_the_credits
These movies are completely open content, so all you 3d artists can pull them apart and see exactly how it was built. I personally can't wait.
http://digg.com/software/Durian_pre..._in_the_credits
Apple Discontinues Shake
Alongside today's introduction of updated Time Capsule models, Apple appears to have finally discontinued Shake, its long-standing high-end digital compositing and visual effects software package. While Shake's product pages remain available on Apple's site, it is no longer listed in the online Apple Store and MacRumors has received word that Apple sales representatives have been informed of the product's discontinuation. Shake had been priced at $499.
Shake was originally launched in 1997 as a product of Nothing Real, which was acquired by Apple in early 2002. Apple continued to update Shake over the next several years, but the release of Shake 4.1 in mid-2006 was accompanied by the announcement that no further software updates were planned. A minor update to version 4.1.1 was issued in late 2008.
At the time of Shake 4.1's release, rumors claimed that Apple's replacement for the software package, code-named "Phenomenon", would be based on Apple's Motion software and released in 2008. While such a standalone product has not surfaced, it is possible that Apple finally views Motion 4 and other components of the updated Final Cut Studio released last week as a sufficient replacement for Shake's features.
Update: Apple's Shake product pages now redirect to the Final Cut Studio main product page.
I'm sad... I was looking forward to see what "Phenomenon" would be.
Macrumors clearly knows nothing of the subject if they would even hint that anyone could think the new Motion is any kind of replacement....
Shake was originally launched in 1997 as a product of Nothing Real, which was acquired by Apple in early 2002. Apple continued to update Shake over the next several years, but the release of Shake 4.1 in mid-2006 was accompanied by the announcement that no further software updates were planned. A minor update to version 4.1.1 was issued in late 2008.
At the time of Shake 4.1's release, rumors claimed that Apple's replacement for the software package, code-named "Phenomenon", would be based on Apple's Motion software and released in 2008. While such a standalone product has not surfaced, it is possible that Apple finally views Motion 4 and other components of the updated Final Cut Studio released last week as a sufficient replacement for Shake's features.
Update: Apple's Shake product pages now redirect to the Final Cut Studio main product page.
I'm sad... I was looking forward to see what "Phenomenon" would be.
Macrumors clearly knows nothing of the subject if they would even hint that anyone could think the new Motion is any kind of replacement....
Eat 3D announces The Fountain Part 2 - Low Res Modeling, UVing, and Baking
May I introduce to you an exciting new training video brought to you by Eat 3D (http://eat3d.com ).
Learn how to create professional low res meshes for next-gen games. After the low res mesh is created the instructor creates the UVs for all the modular pieces of the fountain and then goes into great detail about the baking options to create your normal and ao maps.
The techniques used in this video have been proven effective in production to quickly create professional next-gen game meshes.
To watch a sample of the video please visit this link:
http://eat3d.com/fountain2_lowres
Regards,
Riki Babington - Eat3D Admin
Learn how to create professional low res meshes for next-gen games. After the low res mesh is created the instructor creates the UVs for all the modular pieces of the fountain and then goes into great detail about the baking options to create your normal and ao maps.
The techniques used in this video have been proven effective in production to quickly create professional next-gen game meshes.
To watch a sample of the video please visit this link:
http://eat3d.com/fountain2_lowres
Regards,
Riki Babington - Eat3D Admin
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