Friday Flasback #405


Court Vision. Master Every Angle. XSI 3.0
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“When FIFA and NBA were looking at starting
on the next generation of their product, they
decided it was time to look in the marketplace
and evaluate the products that were out there.
So we literally put everyone in a classroom and
ran them through the scenarios that they
were actually going to be doing in production
with a variety of softwares, and, in the end,
we decided that SOFTIMAGE|XSI was
the best way for us to go.”
3-D Non-linear Production Environment.
download the free XSI Experience at:
http://www.softimage.com/experience
John Rix
Director of Visual Development
EA Canada

 

Friday Flashback #398


KromA looks ‘Golden’ with colorful Scott vid

“XSI is just a lot faster than (Alias|Waverfront’s) Maya…the quality is higher, the user interface is great, and clients like it.”

Sometimes it’s the simplest visual effect shot that’s the most illuminating.

For Jill Scott’s new video “Golden,” the debut single from her new “Beautifully Human” album, the visual effects team at KromA turned the R&B songbird into an animated Lite Brite.

Midway through the video, Scott passes a girl who is sitting on a street corner playing with the toy. A close-up reveals that the girl has formed the light pegs into an uncanny likeness of Scott. The lights animate and appear to sing the song’s lyric.

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Bert Yukich, who owns the 3-year-old effects shop KromA with his wife, and the studio’s executive producer, Amy Yukich, says achieving the effect was as simple as getting the video’s director Chris Robinson to drop the light box off after the shoot.

“We gave the Lite Brite to our CG animator, who built a model of it in SoftImage XSI,” Bert Yukich says. “It wasn’t terribly difficult; the trouble was getting it right. It was a sort of tedious process to get all those little lights to match Scott’s movements.”

KromA used a moving image of Scott’s face as reference and applied color to the pegs to form the singer’s face and to animate the drawing appropriately.

The team served up 60-70 shots for the video using a range of 2-D and 3-D effects animated in SoftImage XSI and composited in Avid DS.

Bert Yukich notes that when it comes to computer effects, KromA is a dedicated Avid shop.

“XSI is just a lot faster than (Alias|Waverfront’s) Maya,” he says. “The quality is higher, the user interface is great, and clients like it. When comparing (Avid’s) DS to (Discreet’s) Fire and Inferno, DS has all the same tools as both of those combined. And it has a better paint system, too.”

Later on, the “Golden” video features a series of “snapshots” of Scott’s family and friends with funny animated captions.

“I wrote out the captions and used a feature of the Avid DS to reveal them as if they were being written by hand,” KromA compositor Evan Guidera says. “I gave the captions different looks depending on who was writing them. The script for Jill, for example, is different from the more childish one I used for her kids.”

Guidera also used the Avid DS to perform extensive color correction work to achieve consistency from scene to scene and to make Scott stand out from the background by giving her a golden tone.

KromA spent about a week on the video and relied on a team of three people. Next up from KromA are the Modest Mouse video “The Ocean Breathes Salty” and a Blink-182 video that features the band members in a three-split effect.

* * * * * *

Those looking to see the year’s most innovative music videos and digitally enhanced narrative projects can catch the Los Angeles leg of the Resfest tour, which kicks off tonight with a short films program and an opening-night party featuring the first U.S. performance by Japan’s turntablist outfit Hifana at the Egyptian Theatre.

The festival showcases innovative videos, short films, film screenings, parties and tours of local motion graphics shops Motion Theory, Brand New School, Blind and Stardust.

Resfest L.A. wraps up Sunday with a Jonathan Glazer retrospective and a closing-night party featuring a live performance by the band Midnight Movies.

Friday Flashback #379


On a challenging project like Sky Captain and the World of Tomorrow, we look for speed and flexibility in our character animation tools. With the performance of the Subdivision Surfaces, the non-destructive character creation workflow, the open-ended scripting, and the rendering power of mental ray in XSI, we here at Stan Winston Studio are able to produce extraordinary digital characters and visual effects. SOFTIMAGE | XSI was a natural fit for Sky Captain and the World of  Tomorrow and is the perfect fit for SW Digital.

Randall J. Rosa / Animation Director
André Bustanoby / VFX Supervisor
SW Digital

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Friday Flashback #373


PLF uses SOFTIMAGE|XSI to pre-visualize challenging scenes in the Wachowski brothers’ second installment of The Matrixtrilogy, The Matrix Reloaded.

FREE YOUR MIND…ONCE MORE PLF Pre-viz Helps Reload The Matrix

by Michael Abraham
In The Matrix Reloaded, the first of two sequels this year from directors Andy and Larry Wachowski, the ingenious filmmakers behind The Matrix (1999) continue a cinematic trilogy that invites audiences to imagine their existence on different terms.  Again plugging into their unique vision – and to the talents of key collaborators such as Senior Visual Effects Supervisor John Gaeta – the directors take a truly comprehensive approach in bringing the movies from novel creative and technical concepts to the screen.The need to visualize in 3-D many of the most challenging scenes for both “The Matrix Reloaded” and for the third film, The Matrix Revolutions was integral to the Wachowski brother’s approach, as well as to the planning and production of the visual effects.

Pixel Liberation Front (PLF), whose pre-visualization work using SOFTIMAGE|3Dand SOFTIMAGE|XSI on such motion pictures as David Fincher’s Fight Club (1999) and Panic Room (2002) and Steven Spielberg’s Minority Report (2002) has been turning heads around Hollywood, was hired to provide the pre-visualization for the film.

When Colin Green founded PLF in 1995, he worked on such action fare as Judge Dredd(1995), which starred Sylvester Stallone, and Eraser (1996), starring Arnold Schwarzenegger. Green interfaced closely with John Gaeta on these projects, and through this process developed a shared understanding of the methodology for approaching the VFX production process – a process that would ideally encompass extensive pre-viz, technical planning and execution to ensure creative continuity from pre-production through to post. When Gaeta was given the chance to supervise visual effects for “The Matrix,” a then little-known film being created by the all-but-unknown Wunderkind directors, he sought out Green and PLF.

Although scheduling conflicts got in the way for that production, the timing was right when Gaeta came back to PLF to collaborate on the sequels.”We were, of course, thrilled at the chance to work on ‘The Matrix’ sequels,” says Green.   “It was great to work with John Gaeta again, and it was a given that the ideas behind the effects would be groundbreaking.  When we first saw the storyboards and concept art (drawn primarily by Steve Skross and Geoff Darrow) for the Freeway Chase in ‘The Matrix Reloaded,’ we knew we had a very rare opportunity to be involved in something really special.”The Freeway Chase is one example of the film’s mind-blowing moments, with Neo (Keanu Reeves), Trinity (Carrie-Anne Moss) and Morpheus (Laurence Fishburne) battling agents, crashing cars, jumping from bridges and maneuvering motorcycles against traffic. It’s also an example of how PLF’s pre-visualization process came into play to ensure that the sequence lived up to the directors’ vision, and could actually be pulled off by the production crew on set and the visual effects team in post.

The entire process was carefully studied, not only by Gaeta and the rest of the VFX crew, but also by Stunt Supervisor R.A. Rondell, DP Bill Pope as well as many others to ensure that everything was coordinated creatively and technically to make the sequence as good as it could be.As was the case for all the shots on which PLF worked, the Freeway Chase seamlessly combines unbelievable stunt action with unprecedented CG and virtual cinematography. Lead Pre-viz artists Laurent Lavigne and Kyle Robinson created accurate digital models of all the elements in the sequence, including the set, characters, key props and set dressing.  They also added virtual cameras that allowed the filmmakers to pre-determine each shot and scenario right down to the type of camera lens that should be used.“We could tell from the start that the Freeway Chase was going to require a lot of very precise pre-viz to achieve the level of precision choreography and stylization that was evident in the boards,” says Green. “We worked in SOFTIMAGE|3D and SOFTIMAGE|XSI for over four months to create and polish the sequence design with John, Larry, and Andy.”  PLF’s artists then traveled to Alameda, California, to spend several more months supporting the shoot on set, translating the sequence from Softimage scenes into physical specifications that could be used by the location and stunt crew. Simultaneously, other members of the PLF team were developing pre-visualizations for the scenes to be shot in Australia.

All told, Green and PLF devoted the better part of two years to working on the productions, with Green spending nearly eleven months at Fox Studios in Australia, where he was joined by fellow PLF team members Lavigne, Robinson, Alex Vegh and Rpin Suwannath. The PLF team was joined in turn by Aussie artist Rob Nunn and Coordinator / Editor Duncan Burbidge.

The PLF team used XSI to pre-visualize in 3-D the filmmakers’ design of the so-called Mega-City, which appears in, and is central to, each of the sequels. “The Mega-City is really the ‘Downtown’ of The Matrix,” explains Green. “All of the action from both sequels was located within a comprehensive 3-D city map, which we built in XSI. We created some absolutely enormous scene files, and were definitely very happy to have SOFTIMAGE|XSI to help handle the task. The great polygonal modeling tools made this process much easier than it would have been in other applications.”
Green used SOFTIMAGE|XSI extensively on such scenes as the one showing Trinity’s dramatic exit out the window of a Mega-City skyscraper. The elaborate and complex screen action, which follows the character as she is pursued by an agent, required a full pre-visualization from PLF in SOFTIMAGE|XSI.

“To pre-visualize the complex camera animation style of these shots, we made considerable use of the Animation Mixer, the Constraint Blending capabilities, and easy rig-building interface in XSI. Having access to all of these tools inside the fast and responsive interface in XSI made a big difference for over-the-shoulder shot design sessions. It was wonderful to work with these tools.”