There’s a new tool on the market that is taking the industry by storm. MARI is the magnificently user friendly 3D paint package that lets an artist spend more time painting and less time battling tech issues. It offers a great many solutions that until now have been missing from comparable applications. Photoshop continues to be an invaluable tool to compositors and motion graphic artists, but MARI has the time saving functionality currently missing.
The UK attracts worldwide attention for the high standard of post-production being undertaken by facilities around the country. London houses a number of such companies, but this talent stretches up and down the country. Mere Mortals Moving Image, based in Newcastle, is a company growing from strength to strength, while adopting new technologies like Nuke X and Pro Tools HD.
MARI is a relatively new piece of software, and is becoming more popular with artists as its reputation for efficiency and adaptability becomes more widely known. As with any piece of new software there is a period of trial and error before you really get to know its full capability. It is in light of this that Henry South, lead texture artist at Framestore, is offering to share his top 23 tips when working with MARI.
In a fast paced industry, where new technologies are being introduced more frequently, it can be difficult to stay on top of which products successfully aid efficiency and quality in our work. It’s great to know that some companies take an opportunity to show off their products and how they are being utilised in the industry. Last Thursday I made a special effort to attend an event for NUKE and MARI software. The torrential down pour that evening made venturing out difficult, so I was glad to see so many people were able to attend. Armed with umbrellas and rain coats well over one hundred of us braved the weather to enjoy an evening with NUKE and MARI, an event hosted by Escape Studios in collaboration with The Foundry and HP.
I met up with Jon Wadelton at The Foundry a few days ago and we had a chat about what's new in NUKE 6.3. Here's what he had to say.
We’re going to be hosting an event with The Foundry and Hewlett Packard called An Evening with NUKE and MARI in London on August 18th. The event is designed for professional artists who want to take a peek at the new features of NUKE, NUKEX and the newly launched bridge between NUKE and MARI. It will definitely be exciting to see first hand all that’s new in these products.
The Foundry just released NUKE 6.3 and there’s a lot of new stuff in the product. They’ve taken product development in a direction that allows users in all VFX industries to partake in the benefits of the product. NUKE is no longer just built for artists in the film industry, it is built to create highly visual commercials with the functionality that it now has.
I have just finished a great week teaching MARI to our new Compositing Professional class. I took them through UVing in Maya, and then taught them how to get to grips with MARI. As part of the curriculum, I also included for the first time the brand new NUKE to MARI bridge which makes the process of taking camera projections from Nuke to Mari and baking projections to UV space much quicker and more flexible.
Most compositors out there want to be using NUKE, and those who are would love to be using NUKEX. Now's the time to update your workflow and take advantage of these special promotions by The Foundry for their award winning NUKEX and MARI products.
Just by being on Linux, MARI has rocked the post industry. All those guys tired of dual-booting, of trying to get Photoshop to work in Wine or some other “in-elegant Linux solution”. Or for those trying to use a laptop hooked up to the network or two machines with a KVM switcher (you know who you are) MARI is like a breath of fresh air! No nasty print type things getting in the way of painting at high bit depths and HDR floating points. Everything works. No nasty greying out of pull downs as it only works in 8 bit situations; geometry size is not an issue either, texture size is 32k square. It’s eats massive data sets elegantly. It’s a Godsend.
I'm really pleased to bring you some news of an update to our current Compositing classroom courses. As most of you will know, what sets us apart from other training institutions is the fact that our courses are entirely industry focused. To ensure we continue to deliver on our promise, our development team regularly meet with industry professionals to refine our courses and align them with the very latest industry requirements. The changes we are making to our Compositing curriculum today will be applied to our 12-week Compositing for Production course as well as our 18-week Compositing Professional course.