Wednesday 29th of February marks the official release of HIERO, a VFX tool we’ve been lusting over for the past 6 months. Following rigorous beta testing this product is now ready for integration with VFX pipelines around the globe. To give this product the welcome it deserves, The Foundry are hosting launch events in LA, Toronto, Vancouver, New York, London, Paris, Hamburg, Munich and Sydney. Escape Studios are teaming up with The Foundry for the launch in London, an event we hope you can all attend. The event is on Tuesday, 6th March at the VUE Leicester Square, running from 7-9pm, followed by drinks. Registrations will start at 6:15pm so try to get there early to avoid queues.
Flipbook, the Manchester based animation and VFX boutique studio, are celebrating a second year in business this week. Quite literally two years ago to the date (February 8th 2010) they took on their very first job. Since then Flipbook have grown from strength to strength, and look forward to a prosperous future as they make some significant upgrades in the company’s workflow.
This is possibly the moment many of you have been waiting for… HIERO, The Foundry's latest software project, has gone to beta. A closed beta ran over a short period of time for few individuals who got their name on a waiting list nice and early, and from what I’ve heard, they really enjoyed putting it to the test.
After an incredibly busy couple of months dealing with students' end of courses projects, as well as completing the first shot for my own showreel, I've found the time to work on the next episode of iNuked: my personal project to explore the possibilities of using The Foundry's professional compositing software NUKE, on my MacBook Air.
The news is travelling fast that The Foundry have a new product in development. This product is called HIERO and is thought to be the 'missing link' in shot management system for VFX pipelines. Designed specifically to help increase output and manage multiple jobs, this tool is said to be a game changer for the post production community.
The MARI vs. Photoshop webinar held on November 2nd 2011 was hugely successful. Registrations were record breaking and there was an encouraging attendance on the day. For what is becoming a popular topic at the moment, The Foundry are certainly paving the way for the future of compositing pipelines with products like NUKE and MARI.
Back in September, Escape Studios and The Foundry joined forces to run a series of free MARI tutorials. To start with, there were two training programmes on offer, but due to an overwhelming demand we scheduled in a third. The aim for the tuition was to introduce professional artists working in the industry to some key features available in MARI, that are fast becoming an integral part of the modern pipeline.
The latest version of OCULA has arrived. Last Thursday, 3rd November 2011, The Foundry announced their release of OCULA 3.0, a leading live action, stereo-3D correction and integration toolset for compositors. A production proven tool, OCULA is a plug-in that has been used extensively on major productions such as Avatar, TRON: Legacy, Pirates of the Caribbean: On Stranger Tides and Transformers: Dark of the Moon. For these films, working in stereoscopic 3D had many undiscovered challenges. Over a course of trial and discovery, OCULA has developed into a reliable tool that meets the demands of artists to mend polarisation issues in photographic plates or correct common stereo-3D defects with precise speed and ease.
I was on the hunt for an appropriate piece of tech to occupy my mind whilst travelling to and from Escape Studios, during my epic commute into London each day and initially the novelty of an iPad seemed the best source of distraction. However after further investigation the answer came in the form of Hugo Guerra (Escape Studios compositing tutor) who, in less than ten minutes, managed to persuade me to spend an extra £600 on an alternative Apple product.
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.