29 September 2011 • 12:19 0
Here are the nominees for Best animation and Best vfx for this years Roy awards. Congrats to all!
Againstallodds -”Oi Futuro Thumb Town” for Oi Futuro
Snask Film – “Love at Folkoperan” for Folkoperan.
Best visual effect:
Swiss International – ”Volvo XC Travels” för Volvo
The Chimney Pot – ”Climbing” for Libero
Swiss International – “Personal Economy” for Sampo Pankki
29 September 2011 • 8:28 0
Digital Tattoos from Ensrettet and Acne Production. Post from Swiss including 3D tracking of the tattoos to match the movements of the models.
Breakdown with interesting use of a kinect camera.
27 September 2011 • 8:41 0
TVC for Mercedes Benz where Adam Marko-Nord directed the animation @ swedish animation house Fido.
Production Erste Liebe Hamburg
Animation Fido Film
Live action directed by Paulo Henriques
Agency Jung von Matt Hamburg
27 September 2011 • 7:24 0
Nordisk Film and stormstudios join forces in Sweden starts new digital company in Sweden – Nordisk Film
OLD NEWS – BUT SOME MIGHT HAVE MISSED IT. Nordisk Film and stormstudios join forces in Sweden starts new digital company in Sweden
Nordisk Film starts new digital company in Sweden
Nordisk Film and Norwegian post-production company Storm Studios AS have now entered into agreement to establish a new, joint company in Sweden that will cover all aspects within digital post-production work on film and TV productions.Digital developments and the introduction of digital technology in cinemas mean that there is now a new market situation, with new technology and new conditions of competition in the film industry.Given this new situation, Nordisk Film and Norwegian company Storm Studios have agreed to join forces to establish a new company in Sweden under the name Nordisk Film Shortcut AB. The company will focus exclusively on digital production, with analogue post-production work in future to be carried out by Nordisk Film Shortcut in Denmark.
With the new company, two experienced partners in the Scandinavian market are combining their competencies in order to stand strong in the face of increased competition in the Swedish market.
Nordisk Film has business activities within post-production in Norway, Denmark and Sweden, and occupies a leading position in this field. In Norway, since 2010 Nordisk Film and Storm Studios have enjoyed strong and close cooperation through their joint company Nordisk Film Shortcut AS.
Ulrik Rasch, Managing Director for Nordisk Film Shortcut, says: ”The future is digital and we wish to build on our already close cooperation with Storm Studios by extending our joint activities into the Swedish market. By combining our competencies, we have the optimal opportunity to supply the entire value chain within post-production in Sweden.”
Kristin Hellebust, General Manager of Storm Studios, adds: ”The market trend in our sector is towards greater consolidation. The key here is to bring together the strongest possible competencies. With our new, joint company we have every opportunity to achieve success as a post-production centre. Therefore we have very high expectations of the partnership we have now entered into with Nordisk Film.”
The new company, Nordisk Film Shortcut AB, will be headquartered in Eriksberggatan in Stockholm. Nordisk Film Shortcut AB is expected to become fully operational on 19 September 2011. The head of the new company is Hans Vermeij.
Nordisk Film has majority shareholding in Nordisk Film Shortcut AB.
The new company will focus primarily on feature films, TV productions, and short and documentary films for the Swedish market. The company will be able to manage the entire digital pipeline – from receiving and processing files from the set through grading, vfx and online to mastering and distribution of digital formats. In addition, the company will be able to offer Scandinavia’s biggest and best facilities for colour grading.
For further information, please contact:
Ulrik Rasch, CEO, Nordisk Film Shortcut, tel.: +45 40455731
Kristin Hellebust, general manager, Storm Studios AS, tel.: +47 92285656
Irene Brandt, head of communications, Nordisk Film, tel.: +45 40116716
Storm Studios is a VFX and animation studio that shares premises with Nordisk Film Shortcut in Oslo. The company provides a range of services covering everything from concept development, VFX on-set supervision, animation and VFX production. The company has a staff of 16 and in 2010 had turnover of NOK 15 million.
NORDISK FILM, part of the Egmont group, is the Nordic region’s leading developer, producer and distributor of creative content within film, music and games. Nordisk Film holds the Nordic rights for the distribution of Sony PlayStation and owns cinemas in Denmark and Norway. In addition, Nordisk Film provides production and post-production facilities for a great many Nordic film companies. In 2010, Nordisk Film had a total turnover of EUR 383 million. The company has 1,100 staff throughout the Nordic region.
Nordisk Film Shortcut is a Scandinavian post-production company with 114 staff. The company provides a full range of post-production services. In 2010, the company’s turnover in Scandinavia totalled EUR 17.2 million.
25 September 2011 • 8:47 0
Another great article from The art of vfx about Mattias Lindahl and Fido’s work on Attack the block.
How did Fido got involved on this film?
Double Negative, who originally was going to do all the VFX work on the film, approached us. Due to timing issues they found themselves short of resources and asked us to bid for the work. I was already familiar with the show since I was involved with it before I left Double Negative when the film was still in pre-production. I was originally set to supervise the work for Dneg, but since I had already decided to relocate to Stockholm, I had to pull out. I was of course thrilled that I still got to work on the film in the end.
How was your collaboration with director Joe Cornish and Double Negative VFX Supervisor Ged Wright?
Really good. Joe is really easy to get on with. Since this was his first feature he obviously had limited experience from working with visual effects. Even though his vision for the film and the look of the creatures was very strong, he was at the same time great at taking onboard ideas from us on how to solve creative and technical problems. I’ve known Ged for a long time. He did a great job presenting our work to Joe. He worked really well as a filter between us and Joe. Making sure the work was presented the right way. I traveled over to London a few times for key meetings. But other than that, most of the communication was done using Skype and Cinesync, which worked really well.
Which sequences did you made this show?
Our sequences where spread throughout the film. We did all the creature shots that needed a CG jaw.
How did you share the assets with Double Negative teams?
The only asset that needed to be shared was the look development Dneg had been doing on the fur. They supplied us with a pre-rendered 4k patch of fur which we used as a base for all the fur replacement on the creatures.
Can you explain to us the fur creation?
It was a combination of tricks really. Shots that did not show any great level of parallax were done completely in the comp. We tracked edges of the creature and used patches from the Dneg fur development to create a new spikier outline.
We created full on CG fur for all shots where either the creature or the camera was moving enough to show a shift in parallax. We created a rough model of the creature and made a rig that allowed us to both animate (or “roto-mate”) the creature to the plate, but also push the geometry around to fill in the areas that was needed in screenspace. A lot of time was spent on roto-mating the creatures. It was of course important that the mesh matched the plate on every frame, but we also had to make sure that the animation was smooth enough to not end up with any sudden twitchy moves that would then affect how the fur behaved.
What was the main challenge with the jaws and claws of the creatures?
One of the key issues with the animatronic jaws was that it did not have the right mechanics in it to show subtle change of emotion. Since these creatures does not have eyes and are mainly black, the only chance we had to get some sort of emotion or facial expressions out of them was through the mouth. The rigging of the jaw needed to be very comprehensive to allow for a number of extreme poses. But it also needed to give the animators a good chance to hit important beats like snarling, sniffing, frowning and of course the big impressive roars. The shading needed to match the practical jaw that featured in a number of shots. So it was important to get the hue, luminance and glows accurate. Magnus Eriksson did a great job with the modeling and rigging using ZBrush, Mudbox and Maya. It was shaded and rendered in RenderMan by Aron Makkai.
How did you animate the creatures?
Most of the time we would start off by “roto-mating” the creatures, using the plate. They had an amazing stunt team on set, so we tried to take as many cues from the original action as possible. In some cases we would go in and add a bit of extra movement to the wrist of the front legs, to make the running motion a bit smoother, or change the shape of the hind legs to make them look less human. The good thing about the creatures being all black apart from the outline was that we could reposition the jaw within the volume of the body. So we would again start off by matching the movement of the practical jaw from the plate. We would then go in and add secondary animation, like bigger head movements or aiming the “eye-line” differently to get a more powerful effect or make them look more threatening.
Where there some shots with full CG creatures?
Yes. A few new ideas came in to the mix late on where we didn’t have any creature plates to work with. So a few of the shots you see are entirely CG.
How did you manage the lighting challenge with a fur so dark?
It was important to Joe that the body of the creatures would never be illuminated. It is part of the storyline that these creatures are blacker than black. So we had to make sure that any highlights in the fur would only fall on the spiky outline and that the fur was always backlit. We created key light passes that the compositor could expand or contract depending on how much light scatter was needed for each shot. It was also important to keep an eye on the black levels in the comp. We had to always keep an eye on the base black levels in each shot to make sure we didn’t go below it.
Can you explain to us the creation step by step of the great shot in which Moses is chasing by many creatures in the corridor?
Oh yeah. This was one of those shots. When you first look at it you go… Ah crap. We are not going to get much sleep over the next couple of months. There were no dark corners to hide anything in this shot. It was brightly lit and a lot of creatures to add.
The main plate consisted of Moses running down the corridor being chased by 2 creatures. We where then given repeat passes shot on greenscreen using “poor mans moco”. (Meaning the camera crew doing the best to re create the same camera move over and over without the use of motion control) This meant that each greenscreen pass needed to be stabilized and then be animated by hand in the comp to make sure there were no sliding feet. Each creature was then tracked to allow us to replace the fur and add CG jaws and claws. We spent a lot of time getting the wrists on the front legs working since the men in suits was running with stilts inside the suits to extend the front legs. This made the legs very stiff and we had to add another joint to make the run work convincingly. Fredrik Höglin who was the main compositor on the shot did an amazing job pulling it off.
Have you created specific tools for this show?
No not really. We do a lot of fur at Fido, so we have already invested quite a lot of time perfecting that part of our pipeline. We are currently working on a tool called SpeedFur, which is amazing. We presented it at this years Siggraph. It was a shame that we didn’t have it finished in time for this show. But we’ll have to save it for the sequel… (laugh)
Did you change your pipeline to fit the show requirements?
No. Thankfully our pipeline is up to scratch to handle this type of jobs. We have a colour space controlled fully EXR based workflow. So it was very straightforward to take Dneg’s lookup table and view our EXR’s through that. This meant that we were absolutely sure that we were looking at exactly the same image as they were over in London.
What was the biggest challenge on this film and how did you achieve it?
Since the original plan wasn’t really to do this amount of work on the creatures at the time of the shoot, on-set data like lens sizes, lens height, set surveys etc was non-excitant. So it made matchmoving extremely challenging. A lot of work had to be done by eye. The matchmovers did an amazing job pulling it off at this high standard.
Was there a shot or a sequence that prevented you from sleep?
Other than the corridor shot mentioned before there was the sequence leading up to it where Moses jump through a room full of our creatures and fireworks going off. We composited lots of repeat passes of the creatures that had been shot with a locked off camera for each shot. Unfortunately the fireworks had been shot in such a way so we could not pick them out from the background. So we had to re-create them in CG. Joe really liked the look of the practical fireworks, so we had to make sure we matched the look of them. This would not have been a problem at all had we known about at the start of the show. But this came in really late, so we had a few sweaty moments there before we got it done.
Read the full story here!
24 September 2011 • 8:45 0
Industriromantik is prominently featured in the official V-Ray Demo Reel 2011.
22 September 2011 • 8:13 0
New brilliant stuff from creative director and director of moving things, also an old colleague from the mid 90′s of mine, Magnus östergren Aka Potemkin.
Had much fun coming up with the look for this film. For the backgrounds I wanted a solid but light look to give the city a summery feel to it, then adding lines, colour splashes and details to frame the main character.
Starting off drawing up our hero had him looking as on the left but the client wished for a more “human” look so I had to narrow the head and give up my vision of a spherical headed alien dwarf sporting a slip-over. I can live with that.
Direction, art direction, illustration, character design, backgrounds, animation, sound and compositing by ME
Character animation and illustration by MALIN ERKKONEN
Music by ERIK HEUSLER
Client: MARGINALEN BANK
Production Co: POTEMKIN
The animated commercial introducing SPOTIFY to the US, produced in january and now released and online for your viewing pleasure.
Carl Waldekranz and Kaj Drobin tossed a script in my lap and told me it had to be green and white and one minute long. I accepted the challenge, locked the door and got to it.
Production Co: POTEMKIN
21 September 2011 • 8:44 0
Be creative and win 15 000 Euro by coming up with a great idea for Penny, Germany’s biggest food retailer.
Watch the old commercial with vfx from Syndicate here http://wp.me/pH5p8-KQ