The latest and full story around DD?
The latest and full story around DD?
Check out Storm studios great work on New York set extensions and digital simulated water for Kon-tiki.
This year’s most anticipated Norwegian film Kon-Tiki has now been released, and Storm Studios is proud to be part of the adventure. Along with directors Espen Sandberg and Joachim Rønning we created images of a 1946 New York. This was achieved by using a combination of footage from the set in Bulgaria, Matte Paintings, actors shot on green screen, CG cars and CG smoke.
Storm Studios has also replaced much of the pacific ocean with digital simulated water – one of the most challenging tasks in visual effects. Effects Supervisor Magnus Pettersson worked several months on developing the water pipeline. According to Magnus one of the most challenging tasks was to handle all the data that the water simulations created. Each version produced 1TB of data that needed to be processed and rendered. When our simulation machine with 96GB of RAM ran out of memory, we knew we were in for a treat.
We are very excited about our raging seas in broad daylight for the film’s big climax, and Mode Steinkjer from Dagsavisen Newspaper says “the special effects are impressive, whether they represent the actual events or contribute to the metaphysical buildup of the crew’s psychological state of mind”.
Latest news in the DD mess with press release via fxguide If you haven’t read already
On Tuesday, Digital Domain announced that it had defaulted on $35 million in debt, and accrued interest and other amounts worth an additional $16 million. According to the Wall Street Journal, “The company said Wednesday that six holders of the defaulted debt had agreed to a forbearance while the company seeks additional debt financing or another source of liquidity.
Today, Digital Domain Media Group (DDMG) announced that they have shut down their Florida studio, appointed Ed Ulbrich CEO, and confirmed that John Textor has resigned from all of his positions at DDMG.
We’re pleased to see that DDMG’s studios in California and Vancouver “intend to continue to operate without interruption.”
Here’s the full press release from the company:
Digital Domain Media Group Initiates Strategic Realignment
Company Begins Cessation of Florida Studio Operations
PORT ST. LUCIE, Fla. — September 7, 2012 — Digital Domain Media Group, Inc. (NYSE: DDMG) today announced that it has initiated a strategic realignment that will enable it to focus its resources on its core business, Digital Domain Productions, Inc., a company focused on creating digital visual effects, CG animation and digital production for the entertainment and advertising industries. As a key part of this strategic realignment, DDMG has begun the cessation of its Port St. Lucie operations by reducing virtually its entire Port St. Lucie workforce, retaining approximately 20 employees who will remain as part of the wind-down.
DDMG’s studios in California and Vancouver intend to continue to operate without interruption, as will the Digital Domain Institute, based in West Palm Beach, Florida. Long-time Digital Domain executive Ed Ulbrich has been promoted to Chief Executive Officer of Digital Domain Productions.
Digital Domain Productions is working closely with its clients, vendors and other critical constituencies throughout this process.
DDMG is implementing this important operational change and will continue to evaluate various restructuring alternatives, as previously disclosed, as part of its effort to reduce its overhead and restructure its long-term debt.
As previously announced, DDMG is continuing to work with the holders of its senior secured convertible notes, each of whom has agreed to forbear temporarily from exercising its remedies under such senior notes until such time as it elects to withdraw such forbearance on not less than 48 hours’ advance notice to DDMG. An inability by DDMG to quickly access additional sources of liquidity to fund its current operating cash needs would materially adversely affect its financial condition and would require it to seek relief or protection from its creditors.
John C. Textor has resigned, effective immediately, from his positions as Chief Executive Officer and Chairman of the Board of Directors of DDMG, as a member of the Board of Directors of DDMG, and from all positions as an officer and director with all subsidiaries of DDMG.
Great article in Norwegian Rushprint about the work that production VFX supervisor Arne Kaupang did on Kon-tiki and his collaboration with all the VFX houses involved.
Check out episode 5 of the Kon-tiki “behind the scenes” at VG homepage. This time with some of the work that Important looking pirates did on the shark sequence.
In Norwegian and spoiler alert!
@cartoonbrew: Digital Domain May Be On The Brink Of Disaster ?http://www.cartoonbrew.com/cgi/digital-domain-may-be-on-the-brink-of-disaster.html
1st Behind the scenes from the largest Norwegian feature film project , maybe also one of the biggest productions ever made in Scandinavia.
More than 500 vfx shots completed from the 4 vfx companies involved, Fido, Important looking pirates, Gimpville and Storm studios.
This Behind the scenes show parts of Fidos work they did for Kon-tiki.
Fido were honored to be asked to work on this epic Norwegian feature about the great explorer Thor Heyerdahl and his legendary crossing of the Pacific on a balsa wood raft in 1947.
We completed a total of 7 sequences, where the most demanding one was the crew’s encounter with a massive whale shark. Work included CG Water, CG Sea Weed, and Creatures; Whale Shark, Varied Species of Fish, a Sally Lightfoot Crab and Mystical Deep Sea Creatures.
VFX Supervisor: Mattias Lindahl
VFX Producer: Claes Dietmann
CG Supervisor: Staffan Linder
VFX Line Producer: Hanna Bengtsson
Animation: Cameron Scott, Rickard Engqvist, Staffan Linder
Animation TD: Magnus Eriksson
Lead Lighting TD: Johan Gabrielsson
Lighting TD: Björn Liljequist, Peter Aversten
Lead FX TD: Björn Henriksson
FX TD: Max Erlandsson
Lead Compositor: Daniel Norlund
Compositing : Martin Borell, Tomas Näslund, Pontus Albrecht, Mikael Ewald
Water RND: Fredrik Limsäter, Björn Rydahl
Match moving: Björn Svanström, Joakim Eriksson
VFX Editor: Linda Öhlund
Kon-tiki is premiering tonight in Norway.
Excellent article @ fxguide about dnegs work on Total recall. Especially love the hovering practical car solution.
“The rigs consisted of a go-kart on the bottom,” says de Wet, “a four-wheeled go-kart that had two operators, one would be the guy who sat up the front, who was actually driving the go-kart. There was another driver who was operating a gimbal above their heads. On top of the gimbal was a full-sized hover car. So we had to remove the go-kart that was underneath to make it look like the car was hovering, and replace the entire background.”
The actors and stunt doubles in the hover car mock-ups could then “react to the velocities and inertia you get when you’re in a car traveling 40 miles an hour smashing into each other,” says de Wet. “You get all that stuff for free.”
One set of car plates was filmed underneath the Gardiner Expressway in Toronto, which provided appropriate lighting for passing-by UFB city structures. Another group of plates was captured on an expansive unused airbase at Borden. “We let rip with the cars, both 1st unit and 2nd unit,” says de Wet. “We shot the full sun-lit stuff out there. We drove the cars around at 40-50 miles an hour, allowing them to smash into each other. We wrote off a few cars, smashed a few cameras – all that kind of stuff.”
A huge effort was then required to matchmove the car plates, remove the rigs and to establish roads and a world for the hover car chase to exist in. Concepts for the UFB were established by Patrick Tatopoulos’ team, from which Dneg quickly began an asset build. “Len and Patrick gave us a great library from which to choose,” says Peter Chiang. “Once you take in the assets, there’s a whole development process that goes on. We just started building the assets and had them all run in parallel, including The Third Floor’s previs work. And we set the look that way.”
CG versions of the hover cars were created via reference photography of the practical versions (luckily the cars were all similar shapes and sizes). Distant traffic was achieved through a particle system developed in Houdini. But the most intense work was the incredible buildings – ‘platforms’ – and roads network required for the UFB that had to be mapped to the live action plates.
Read the whole thing
Worth a mention – 08/09/12
Avatar Sequels Will Shoot VFX in Real Time
(411mania.com) Lightstorm Entertainment, the production company for James Cameron and Avatar, will be partnering with the visual effects company Weta Digital and software developer Autodesk to make brand new virtual production technology for the upcoming sequels to the hit movie Avatar.
The new software will reportedly combine the use of digital assets in an interactive environment. This will apparently allow for quicker creative decisions regarding visual FX on-set. This will be the most streamlined version of the technology than ever utilized before previously.
According to Cameron, “Creating the virtual production pipeline on Avatar was a groundbreaking process that only enabled us to scratch the surface of what is possible.” He also added, “Together with Autodesk and Weta Digital, we have used the knowledge gained from this first experience to clearly define the ideal process and then develop the technology needed to streamline our workflow. With the resulting pipeline, on the Avatar sequels, I will be able to devote more of my energy to the creative side of the moviemaking process, and dig deeper into all that is possible with virtual production.”
The second, third, and fourth installments in the Avatar franchise will begin shooting simultaneously in the fall.link
A brand new trailer for Cloud Atlas, featuring Tom Hanks, Halle Berry, Hugo Weaving and Hugh Grant. Cloud Atlas is the movie adaptation of David Mitchell’s novel directed by Lana and Andy Wachowski (The Matrix) and Tom Tykwer (Run Lola Run). It follows six stories ranging from the South Pacific in the 19th Century to California in the 1970s to a post-apocalyptic future, and most of the cast will be playing multiple characters throughout the six stories, swapping race and gender in the process.