We are delighted to announce that Pixar and Escape Studios in association with the VES will be hosting the London RenderMan User Group meeting on Thursday, July 21st at 6:30 pm. In a break with the usual tradition, the first of this year's RenderMan User Groups is actually taking place in London, ahead of the Siggraph RenderMan UGM.
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 sure many of you will have seen the film medley that represents 25 years of Pixar Animation. Well, it's amazing to be reminded of all their fantastic work - not just the images and characters, but the stories also. They pretty much have it all. I would personally like to thank Pixar for The Incredibles, which for me is unsurpassed. Simply brilliant.
Yesterday, Pixar announced an unprecedented price drop in their flagship product RenderMan® Pro Server. The 40% reduction will allow studios and freelancers that were previously unable to buy into the technology, to get a slice of the Film / VFX industry standard renderer. With the global CG expansion, Pixar appreciate that the growth of renderfarms is real and happening now, this move allows existing customers to ramp up their rendering capabilities in a more cost effective manner whilst allowing smaller shops and freelancers access to the toolset.
One of the biggest challenges facing TD's is moving data from one system to another. For example, getting the nice particle animation that you have done in Houdini into Maya for rendering.
We love getting a behind the scenes look at productions and we're quite excited to chat to Delapost Paris about their recent ‘Penguins in Heaven’ project. Here we catch up with Emmanuel Koltès who gives us an insight into the making of the commercial, and specifically how Pixar’s RenderMan was used.
We are all looking forward to the UGM tonight with our very technical friends at Pixar! Over 200 people in attendance... should be a great night and plenty of Escape $ behind the bar!
Following the Pixar masterclass, we asked Pixar’s Andrew Gordon to share his tips on creating a fantastic animated sequence and tell us how he came to work in the industry and at Pixar.
Pixar have just announced the release of it's much anticipated Distributed Processing Solution for RenderMan and Other Applications!
At the Animation and Story Master Class which took place recently, we caught up with Matthew Luhn to get his thoughts on animation. He has worked on some of the biggest animated films produced, including Toy Story and Toy Story 2, Monsters’ Inc., Finding Nemo and Up. Prior to joining Pixar in 1992 Matthew worked on The Simpsons as an animator.
We’re launching a brand new set of online courses – Self Directed Learning. These low-cost distance learning courses are aimed at students, aspiring 3D artists and computer graphics (CG) hobbyists across the world, and cover CG industry staples Maya, ZBrush and Nuke in detail.
Step Seventeen - Right Arm.
Step Sixteen - Left Arm.