|FEATURE_$type=slider$show=home$height=600$author=0$readmore=0$snippet=0

[SPOTLIGHT]_$type=carousel$count=6$show=home$author=0$readmore=0$snippet=0$height=400$columns=3

How They Did It: District 9

One of the year's major success stories was the release of District 9, a science-fiction film set in South Africa that worked as an unc...


One of the year's major success stories was the release of District 9, a science-fiction film set in South Africa that worked as an unconventional buddy film, a gritty action movie, and an imaginative parable of Apartheid and xenophobia. In the film, produced by Peter Jackon's Wingnut Films, extra-terrestrial visitors have been segregated to a section of Johannesburg known as "District 9", where they live in squalid conditions as their mysteriously disabled mothership hovers overhead. The story follows an officious bureaucrat, Wikus, who finds himself in an unlikely partnership with an alien named Christopher Johnson after he inhales a mysterious substance that starts to transform him into an insect-like alien body. If Wikus can help Christopher and his child, an alien pipsqueak known as Little CJ, get their mothership up and running, they can make him human again before they blast off for their home planet. All of this happens on a reported $30 million budget.



Vancouver's Image Engine grew to a crew size of 110 and completed 311 visual-effects shots for the film, with the responsibility of animating three main characters — aliens based on conceptual designs from Weta Workshop — as well as the larger numbers of aliens populating the film. So how did a largely unheralded Vancouver VFX facility land the job of creating amazing CG aliens for one of the coolest movies of the summer? He might not have known exactly how it would turn out, but that's the kind of project VFX Executive Producer Shawn Walsh had in mind when he started working at Image Engine in 2006. “There wasn't really a film presence at the company,” he tells Film & Video. “My job was to create that.”

Over the next couple of years, Walsh says, he helped build the company from a 20-person firm specializing in HD television work to a feature-film VFX house that could staff up to more than 100 people. High profile projects included Mr. Magorium's Magic Emporium, The Incredible Hulk, and this year's Orphan, and that kind of growth caught the attention of District 9's director, Neill Blomkamp, who had his own background as a Vancouver VFX artist working for The Embassy and Rainmaker Visual Effects. When Weta, swamped with work for James Cameron's upcoming Avatar, was unable to do the digital creature work for District 9, Blomkamp started to shop the project around.


“Ultimately I think it was a combination of our pitch to Neill after he contacted us, with a dialogue back and forth – and some of the financing things I helped him with in a more pure exec-producer capacity – that ended up landing the work in Vancouver,” Walsh recalls. “And certainly Neill was a huge advocate of doing post and VFX in Vancouver.” The company wasn't built using solely Vancouver talent, however – Walsh estimates that a third of the staff is native to Vancouver.

The bidding process for District 9 happened from January to March 2008, with Image Engine winning the project in April, Walsh says. Asset-building began in May, and work began in earnest in September, as Image Engine worked full-bore to make assets and tools before plates started arriving at the beginning of October, according to VFX Supervisor Dan Kaufman. Work continued through June, 2009.

Image Engine had already made significant investments in its pipeline – including an R&D department tasked with developing custom tools and augmentations to existing tools — so the District 9 job required only “incremental” new expenditures, Walsh says. “Ingesting large amounts of motion-capture data was not something we had done before, but we had people with the experience who would be able to do that,” he says. “We hadn't painted out an actor in a grey suit to the extent that we were going to be doing it on District 9, so we wrote custom tools to make that process easier.”

That was Walsh's purview on District 9 – establishing the parameters for the project in terms of how the facility would approach VFX problems, and marrying those issues to finances. Coming at the problems from a different angle was Kaufman, whose big-picture experience before he signed on for District 9 included such VFX-heavy movies as The Core and Poseidon as well as invisible-FX projects like Ocean's Thirteen and Leatherheads.

Arriving at Image Engine, the first task facing Kaufman was a survey of the landscape. “I had to see where everything was at, trying to get as much information as I could from all the different people working at Image Engine about where things stood,” Kaufman says. “They had started work on an asset-management tool called Jabuka for actually allowing animators and artists to use different assets that we were building. Nigel Denton-Howes was the asset lead and developed that almost entirely himself. It was a very comprehensive tool that could bring in assets and use them in shots, with a GUI for picking different shots and attaching assets to other things. And there were other tools in the works when I got there to aid the animators in dealing with specific things and to add usability to Maya.”

Creature Supervisor James Stewart

Creature Supervisor James Stewart on Alien Designs


Neill had a very lean crew — a much smaller crew than directors normally have — and he trusted out a lot of his key roles. He's got such a good eye and trusts people who have a similar eye, so he was able to cut down his own staff and rely on the VFX house to do a lot of that work. And our relatively small size plus Neill's small crew size allowed us to be very close, and that was a huge change.

I like taking on whatever role opens up for me in a production, whether it's more technical or more artistic, and in this case it was more artistic. I played art director. Neill had designed the maquettes [for the aliens]. We copied those and adapted them to work for us, but he was never happy with the way they were done. In 3D, he just wanted them to be more insect-like. I did a whole bunch of sculptures for him, and one in particular was definitely in the area he wanted to go. We then associated a whole bunch of pictures and buglike, insectlike, mucus-like pictures to different parts of that face and he said, “Great. Go with it.”

Everything we did with the alien creature was based on reality. It's so much easier to talk to somebody who's texturing a shell and hold up a crab shell, even go into Photoshop and make it the color you want and say, this is what we're looking for. And you're basing it on something in reality. We're not trying to make anything up. As soon as you try to make things up, it gets dodgy. So everything, even though it's an alien creature, is a summation of things that already exist. Everything you see — everything you see — was taken from some picture somewhere. We said, “This is the feeling we're looking for for the specular — that, plus a sort of gooey texture underneath.”

You could take a picture of a high-resolution bug and project it on. You'd be amazed at what they use. They'll use sandpaper for one thing, and Photoshop brushes for something else. Even dirt patterning was based on reality. We'd have pictures of bugs covered in dirt right up next to the aliens. Is this the right clumping you'd see on an alien at this scale? Whether it would be specular or dirt or paint splatters, we tried to base it all on reality.

We even hired Piotr Naskrecki, a botanist from Harvard who wrote this book called The Smaller Majority with a whole bunch of amazing pictures. We got him to send pictures from his database to us, and we used those not only as a tool to make sure all the textures were looking real, but also as a reference tool. “Hey, Neill — this is a really cool bug here.” We'd Photoshop something up that looked like the bug and ask, “Is that the kind of bug you're looking for?” And he'd be like, “Cool!”
The aggressive approach to developing custom tools was important because there wasn't going to be much room for trial and error as the project was executed. “Honestly, the script was changing all the time. A lot of it was sort of ad libbed, and it was hard to tell what was going to be in the film and what wasn't,” Kaufman explains. “So we knew the environment we were going to be in and the sort of things we'd have to do, and we had to plan to be able to handle whatever came at us. The overall complexity of shots grew quite a bit, so if we hadn't had that kind of pipeline, we would have been in a very bad place.”

The toolkit for District 9 consisted of a number of common off-the-shelf programs, augmented with custom-built bits of software that extended their functionality. Autodesk Maya was the 3D workhorse, with the Foundry's Nuke doing compositing duty. Next Limit's RealFlow was called on for some fluids and dynamics simulations. Rendering was handled through the Renderman-compatible 3Delight from DNA Research, which Kaufman said did “a fantastic job.”

Motion-Capture, Rotomation, and Keyframing

Part of the early planning involved figuring out what mix of techniques would best address the variety of shots in the film involving aliens. “One of the things we assumed correctly early on,” says Walsh, “was that we would have to use a liberal blend of motion-capture, rotomation, and keyframing to accomplish the animation, depending on what kind of shots the aliens existed in. Composition would be key to that decision.”

Animation supervisor Steve Nichols breaks down the thought process further. “We used motion-capture where we could, especially for background characters,” he explains. “If there was any interaction with the lead character, they had an actor on the set, and we would use rotomation. Jason Cope, one of the actors in the movie, became our Christopher. He would walk around in a very revealing skin-tight grey outfit with some tracking markers on it. Sometimes he was on stilts, as well, to get the eyeline right. He would mock up a general performance so we could get some nice interaction and contact with the characters. The animators would go in and capture that basic movement and make it more alien.”

“And the third thing we had was straightahead keyframe animation, especially on Little CJ,” Nichols continues. “We did shoot reference a lot, but a lot of the time we just keyframed the shots.”

The production ended up going with all-CG aliens, rather than trying to execute a half-prosthetic hybrid. “They did have a costume for an actor to wear, but that didn't work out,” Kaufman recalls. “Neill had a pretty clear idea in his head of what he was looking for — they should be humanoid with an insect influence. They should be brightly colored, which is tough because it looks real on an insect, but when you scale it up it's hard to make it look real again.”

“The whole process evolved as Neill watched the takes coming in,” Nichols says. “He started steering away from motion-capture because he wanted them to move differently – to be twitchy and edgy, with razor-sharp movements that a human couldn't do. Because they're skeletal in their frame, they look light a lot of the time, so we had to do quite a bit of massaging to make sure they felt heavier and had some weight. A majority of the work on the movie was the rotomation overlaying the performance.”

Once the animation techniques were established, there was the question of developing a style that would suit the film's mood and atmosphere, which was largely determined by the film's gritty handheld footage. “It took a while to get used to that — how much you push the animation to have it show up when the camera's moving around a lot, yet still feel realistic,” Nichols says. “And I've never worked on a character who's had the crap beaten out of him so much. Having him devolve through the movie — limping more and becoming slower — and changing the model so that he has more cracks on him was very new.”

Getting Emotion From an Alien

Getting the right performance out of all-CG alien characters was a special challenge, too. “It's an understated style of performance,” he notes. They all have a tentacle moustache that rides on their mouth, so you rely on their eyes. They're like grasshopper eyes — how do you make someone feel sorry for a grasshopper? So a lot of that was Neill. Any time we did something that was hammy, he'd immediately slap our wrists and say, ‘That's too Pixar-ish.’”

District 9 aliens

The film's emphasis on realism had implications for the creature design, too. “It's a matter of [the aliens] looking realistic in a shot that could be lit in the daylight or in dark interiors and exteriors. If the textures hold up and the specular holds up and it looks real in the environments, my job is done,” says James Stewart, creature supervisor. “But there's no forgiveness there. It's not like they did a DI at the end of the process and made everything blue. They didn't hide anything. What we rendered is what you saw. So our tolerance level from look-dev had to be real, or it wouldn't be real in the shot. It was so revealing, and the sun was so hot, that we had to make every detail count.”

And that relentlessly restless camerawork made tracking a formidable task. “The tracking was most definitely challenging, but quite manageable given the talent of our tracking team and the sophisticated software available,” Kaufman says, noting that the team, led by Derek Stevenson, relied on Pixel Farm PFTrack, 2d3 Boujou, and Science.D.Visions 3D-Equalizer. “Sometimes we had to take out the actor who was acting out the main alien parts. Tracking him out and tracking in the fixed-up background that didn't have him in it was the hardest part.”

The 1,000,000-Alien Shot

One shot from the film posed an extra challenge. One brief shot shows the interior of the alien mothership, which is full of hundreds of the creatures, whose bodies can be seen stretching back into the darkness. It's seen near the beginning of the film, but it showed up at Image Engine very late in the production. “They originally called it the '100-alien shot,' but it gradually evolved. When Neill started talking about how many aliens he really wanted, it became the '1,000,000-alien shot',” says Nichols. “We were at a stage in the pipeline where we had built all of our assets and created everything we had to create, so this had to work within what we had already built.

“I had a really strong tech animator, Jeremy Mesana, who developed a system so that we could lay out hundreds of aliens in this room. We had to develop light enough rigs that they could take a bunch of different animations and populate out this huge space. We did that with 3D geometry for the foreground, and then everything else was [2D] cards in the background. The cool thing about that shot is it was the ultimate collaboration shot. My whole team of animators finished their other work, and everybody worked on that one shot together.”

“That was hard mostly because we didn't have a lot of time to do it, so we had to scramble to figure out a way to get all the aliens together in that shot and make it work,” says Kaufman. “Nuke has a nice integration of 3D and 2D together in one package, so we could sort of render passes on cards and stack them up in 3D space in Nuke.

“Neill sent me an email after the movie was over saying, 'Oh, by the way, I ran that shot through a VHS player. It works really well in the movie,'” Kaufman recalls. “I emailed him back saying, 'Well, whatever works — but I won't tell the compositor that!'”

In the end, Walsh says one of the most striking things about doing VFX for District 9 was the apparent ordinariness of most of the shots. "They're so banal, with a reality TV-era appeal, and you completely forget that there's an alien staring at you in that shot," he says. "This is a story about aliens invading Johannesburg! There are a lot of incongruities in the film that are really appealing. A lot of summer movies are quite derivative, and people still enjoy them even though they know what they're getting. District 9 was a real surprise to people going into the theater cold, who didn't know what to expect."

“It's always great working on a movie that you know is something different and original, and those opportunities don't come around often enough,” Kaufman says. “Couple that with aliens, spaceships, and ray guns — awesome! And it's also really cool working with a director like Neill who has this whole alternate world in his head and can guide you through it. You're not just trying random things and hoping something sticks. It's all there — it's just a matter of getting that world onto the screen.”

Source:

studiodaily.com

COMMENTS

Feature video:

Archive Pages Design$type=blogging$count=7

Name

007,2,123D,2,1313,1,2001,1,2008,1,2009,1,2010,2,2011,8,2012,3,2013,1,2018 Game Developers Conference,1,20th Century Fox,5,21st century,1,2D,1,2D animation,20,2D Artworks,8,2VR,1,32TEN Studios,2,343 Industries,1,343 Studios,1,360 Video,7,3d,91,3D Coat,5,3d model,26,3d models,184,3d Monitor,2,3d Print,3,3D printing,5,3d Product,30,3D Scanner,2,3D scans,8,3d-coat,4,3Dconnexion,1,3December,3,3Decemeber,1,3Delight,1,3DF Zephyr,2,3ds,4,3ds Max,51,3ds Max 2012,26,3ds Max 2013,15,3ds Max 2014,9,3ds Max 2015,11,3ds Max 2016,5,3ds Max 2017,3,3ds Max 2018,2,3ds Max 2019,2,3ds Max Design,1,3dsmax,736,3DTi,1,3DTV,7,4K,8,4K Camera,3,4th Creative Party,1,514,1,537 Bulans Project,1,80s,1,8K Texture,5,A&G Tool,1,A2T Studio,1,Aaron Limonick,1,absolution,1,abstract,3,Academy of Motion Picture Arts,1,ACM SIGGRAPH,48,action,3,action script,4,action star,1,ActionVFX,7,activision,1,ad,6,Adam 2: The Mirror,1,Adam Berg,1,Adam Floeck,1,Adhensive studio,1,adidas,2,adobe,158,Adobe Animate,1,Adobe Audition,1,Adobe Character Animator,1,Adobe Comp CC,1,Adobe Creative Cloud,19,adobe flash,3,Adobe Gaming SDK,1,Adobe MAX,2,Adobe Photoshop Lightroom,1,Adobe Premiere,7,Adobe Reader,1,Adobe Scout,1,Adobe Sensei,1,Adobe Stock,3,Adobe Summit Europe,1,advert,3,advertisement,9,advertising,26,Aetuts,1,Affinity Photo,3,After Effect,243,after effects,20,After Effects CC,7,After Effects Preset,1,Agisoft,1,AI,1,AIA Atlanta 2015,1,AIA National Convention,1,AICP,1,AIREAL,1,Aixsponza,1,Alembic,2,Alessandro Baldasseroni,1,Alessandro Nardini,2,Alex Alvarez,1,Alex Horst,1,Alex Koryshev,1,Alex Roman,3,Alexander Zhdanov,1,Alexis Liddell,1,Alfred Imageworks,1,alice in wonderland,1,alien,1,Alioscopy,1,Allan McKay,11,Allegorithmic,35,Alt.vfx,1,Altus Studio,1,amazing,1,amazon,5,Amazon Lumberyard,5,AMD,18,Analog,2,Anatomy,1,ANDesign,1,Andree Wallin,1,Andreea Scubli,1,Andrew Kim,1,Andrew Morev,1,Android,2,Android Jones,1,Angel Stone,1,Anima,4,Animal Logics,1,Animation,495,animaton,10,Animatrik,1,Annecy International Animation Film Festival,2,Anselm von Seherr-Thoss,2,Ant-Man,1,Anthony F. Schepperd,1,ap,1,Ape School,1,Apex,1,App,18,apple,18,application,38,Applied Houdini,1,AR,2,Archexteriors,3,Archinteriors,6,Archinteriors for UE,1,Architecture design,5,Archmodels for Unreal Engine,2,archvis,4,archviz,8,Arion,2,ARM,1,ARM Holdings,1,Arnold,37,Arnold Render,1,ARPG,1,ARS,1,Ars Thanea,4,Arseniy Korablev,3,Art,12,art brain storming,1,Art by Rens,1,Art works,29,Artec,1,Artist,435,Artist Profile,11,artists,28,Artjail,1,ArtMesh,1,ASF,1,Ash Thorp,5,Ashley Tilley,1,Ask The Master,3,Assassin's Creed Movie,1,Assassin’s Creed Unity,2,ASUS,2,AsymmetricA,1,ATLAS of CG,2,Atom View,1,Atomic Fiction,3,AU,4,Audi,3,Audio,2,Augmented Reality,1,Auotdesk Alias,1,Australia,2,Australian International Design Awards,1,auto,1,AutoCAD,2,Autodesk,401,Autodesk CAVE,2,Autodesk Composite,3,Autodesk Flame,20,Autodesk Flare,6,Autodesk FormIt,1,Autodesk Gameware,1,Autodesk Homestyler,1,Autodesk Kynapse,1,Autodesk Lustre,2,Autodesk Masters,2,Autodesk Maya,339,Autodesk Maya 2014,3,Autodesk Maya 2015,8,Autodesk Maya 2017,1,Autodesk Maya 2018,1,Autodesk Photofly,1,Autodesk Showcase,3,Autodesk SketchBook,6,Autodesk Smoke,21,Autodesk Smokeodesk Maya,1,Autodesk Stingray,2,Autodesk VRED,1,AutoHair,1,Automotive,28,Automotive Design,5,Automotive in Unreal Engine,1,avatar,15,Avengers - Age of Ultron,1,Avengers: Age of Ultron,5,Avengers: Infinity War,1,Award,60,Axis,4,AXYZ,10,Azimoot Competition,1,Baby Cow Animation,1,Backburner,1,ballisticpublishing,14,Bamboo Stylus Mini,1,Baolong Zhang,1,Basik Products,1,basket ball,1,Batman Arkham Knight,2,battle field,1,bavaria beer,1,bbc,1,Beat Reichenbach,1,beatles,1,beauty,1,beeple,1,beer,1,Behance,1,behind the scene,56,Ben Mauro,1,Bentley Systems,1,Bertrand Benoit,5,Best VFX of The Month,1,between,1,beyond two souls,1,Bifrost,2,Big Game,1,Big Hero 6,3,Bike,2,Bionatics,1,Bitmap2Material,1,Bitsquid,2,black ops 2,1,black and white,2,Black Bones,1,Black Friday,4,BLACK FRIDAY 2017,1,Black Ink,2,Black Studio,1,blackhole,1,blacklist,1,Blackmagic Design,23,blacknail pictures,1,Blank Repository,1,Bleank,1,Blender,123,Blender Conference,1,Blender Tutorials,2,Blizzard,2,Blizzard Entertainment,12,BlizzCon,1,Bluebolt,1,Blur studio,24,BMW,6,Boaz Livny,1,BodyPaint 3D,8,Boketto,1,bonesPro,2,bonzai3d,1,book,41,Boris Continuum Complete,1,Boris FX,13,BOT animation,1,Bottleship,1,boujou,1,Boxx,13,Bpositive,1,Bradford Animation Festival,1,Brandon Young,1,breast cancer,1,Breath,1,Brice Chevillard,1,british tanks,1,Broadcast,1,Bruch,1,Brunch Studio,2,Brushes,15,Bubble Solver,1,bubbles,1,buck,2,BUF,3,Bunkspeed,1,Byron Howard,1,c,1,Caleb Nefzen,1,Call for Submissions,5,Call of duty,6,Camera,16,Camera 360 Video,1,Camera mapping,1,Camera Raw,3,CameraTracker,5,Camille Craze,1,Canon,8,canon 7D,1,capcom,2,Captain America,1,Captain America: Civil War,1,Car Design,39,Carbon Scatter,7,Carlos Ortega Elizalde,1,Carlos Parmentier,1,Carrara,1,cars,14,Cartoon,4,castlevania,1,cats,1,cebas,45,cel animation,1,CES,4,CES 2012,2,CES 2014,2,CES 2016,1,cg animation,12,CG architecture,329,CG CON,4,CG Event,462,CG Press,3,CG Record,6,CG Record Interview,24,CG River,1,CG Service,1,CG Student Awards,2,cg trailer,6,CG2 Code for Art Conference 2016,1,CGARCHITECT,1,CGAxis,55,CGI,40,CGRecord Editor picks,1,CGRMF,2,CGSociety,1,cgtalk,22,CGTarian,1,CGTrader,1,CGW,1,CGworkshop,4,chainsaw,1,Challenge,62,Chaos Group,14,Chaosgroup,126,Character,169,Character Animator CC,1,character design,11,Cheetah3D,2,Chris Bjerre,1,Christiant Dalberto,1,Christina Batchelor,1,Christoph Schindelar,4,Chromecast Ultra,1,ChronoSculpt,1,cine,1,Cinebench,1,cinema 4d,272,Cinema 4D R17,1,Cinema 4D R19,1,CINEMA 4D Tutorials,5,cinematic,14,Cinesite,1,cineSync,1,Cineversity,3,CINEWARE,2,Cintiq Companion,1,Circuit.io,1,Ciro Sannino,1,CIterion,1,CityEngine,17,CityEngine 2014,1,CL3VER,2,Clarisse iFX,16,Clay Liford,1,Clinton Crumpler,1,CLO,2,CLO Virtual Fashion,9,Cloth Simulation,15,Cloud Computing,9,Clovis Gay,1,Cmivfx,15,coca cola,1,COD 9,1,Cold,1,Colimo,1,Colin Thomas,2,colonial marines,1,colorsponge,1,COLORWAY,5,Comcast,1,comic,10,Comic Con,1,commercial,250,Company,53,Composite,7,compositing,131,Concept,28,Concept art,168,Conference,12,Contest,165,Cool Keith,1,Corel,8,Cornelius Dämmrich,4,Corning,1,Corona,33,Cortex,1,Counter-Strike Online 2,1,Counter-Strike: Global Offensive,1,Courses,1,Craft,18,Craft Animation,1,Craft CameraFx,1,creative,6,Creative Market,1,Creative Suite 6,1,Creature,16,Creature design,5,Cristiano Rinaldi,1,Crowd Simulation,6,CryENGINE,4,CryENGINE 3,1,CryEngine3,1,crysis 3,1,crytek,1,CS4,4,cs5,23,CS6,11,Cube Creative,1,Cuda,25,Curved Monitor,2,Cut out,1,Cutting Edge,1,CVMP,1,Cyber Monday,3,cybertron,2,D-Plug,1,D2 Conference,1,Dabarti,1,Daft Punk,1,Dan Meyer,1,Dan Roarty,1,Daniel Ahrens,1,Daniel Bystedt,2,Daniel Rodrigues,1,Daniel Simon,1,Dark Prince,1,dark sider,1,dark sider 2,1,Darstellungsart,1,Daryl Obert,1,david beckham,1,David Cunningham,1,David Karlak,1,David Luong,1,David Orr,1,davide di saro,1,DaVinci Resolve,7,dawnguard,1,DAZ 3D,6,Dbox,3,DC Universe,1,Ddo,1,de,1,dead space 3,1,Deadline,23,Deadline 7,2,Deadline 8,3,Deadpool,3,debut trailer,3,deep compositing,1,Deep Learning,1,Deep Learning AI,1,defiance,1,Dell,7,DEM Earth,1,Demo,1,Demo reel,94,Demolition Master,1,Denoise,1,Denoiser,1,Design,167,Design Achievement Awards,1,Design Connected,2,Design FX,1,DesignConnected,4,desperados,1,Deus Ex: Mankind Divided,2,developers,2,DeviantART,2,devil may cry,1,DEXTER Studio,1,Di-O-Matic,1,DI4D,1,Diana Li,1,diary,1,DIGIC Pictures,5,Digital Dimension,2,Digital District,3,Digital Domain,34,Digital Storm,1,Digital-Tutors,27,Dimensiva,1,DirectX 11,1,DirectX Raytracing,1,Disney,35,Disney Hyperion,2,Disney Research,1,Display,2,DIY,1,dj hero,1,DLC,1,DMAX Imaging,1,dmc,1,DNEG,1,Dominic Qwek,1,Doreen Lorenzo,1,Double Negative,11,Double Negative Singapore,2,Double Negative Vancouver,1,Download,553,DreamWorks,6,DreamWorks Animation,13,driver,2,Drone,4,dusk rendering,1,dvein,1,Dylan Cole,1,dynamics,1,E-on,69,e3,5,E3 2012,2,E3 2013,3,E3 2014,3,E3 2015,1,EA,24,EA Sport,4,Earthling,1,eat3d,15,EB Hu,1,Echolab,1,Eddie Perlberg,1,Eddy,2,Edge of Tomorrow,3,Editor's Picks,4,Education,1,Edvige Faini,1,Eevee,3,egypt,1,Eidos,1,Eidos Montreal,2,eight vfx,5,Ekaterina Pushkarova,1,Element 3D,5,EliteDisplay S270c,1,Emb3D,1,Emily Ratajkowski,1,Emmanuel Shiu,1,Encore Hollywood,2,End Crawl,1,Engadget,2,engine,8,Engine 4.8,1,Entagma,1,environment,78,epic,1,Epic Games,21,Erik Lehmann,1,Esri,2,Esteban Diácono,1,Estudio a2t,1,EUE,3,European Design Awards,1,eve online,1,Evermotion,162,Evermotion Archmodels,12,Evil Gas Pump,1,Ex Machina,1,exclusive,2,Exhibition,1,Exlevel,5,Exocortex,5,Exocortex Momentum,1,EXODE,1,Exodus: Gods and Kings,1,Exorbit Art,1,Exotic Matter,2,EXOTIQUE,2,expo,1,expose',14,Exteriors,1,Extreme Sports,2,Eyeon,22,Fabric Engine,8,Fabric Software,4,Facebook,4,FaceFX Studio,1,Faceshift,1,Faceware,7,Faceware Interactive Division,1,Faceware Live,1,Faceware Technologies,1,Facial motion capture,6,Facial Scan,1,fall of cybertron,1,Fan Art,1,Fantastic Four,2,far cry,1,farcry,1,Fashion,2,FBX,3,FBX Review,1,Feature,2780,features walkthrough,1,Federico Pelat,1,Feng Zhu,1,festival,10,FibersMesh,2,FIFA,2,FIFA 15,1,FIFA Street,1,FIFA14,1,fifa2010,2,Figment,1,Filip Engstrom,1,film,563,Films,18,Final Cut Pro,20,Final Fantasy,4,Final Fantasy XIV,1,Final Fantasy XV,2,finalRender,21,FIT Technology Group,1,Flash,7,Flash C++ Compiler,1,Flash Player,2,Flightpattern,1,FLIX,2,Flowbox,3,fluid,10,Fluid FX,5,fluidata,1,fly through,1,Flying Architecture,1,FMX,5,FMX 2010,1,FMX 2011,2,FMX 2012,1,FMX 2013,1,FMX 2014,4,FMX 2015,2,FMX 2016,5,fooball,2,Food,2,footage,21,Forest Pack,5,Forest Pro,2,forza,1,Forza Motorsport,1,Forza Motorsport 6,1,Foundry,147,fox,1,Fox RenderFarm,1,FPS,1,Fracture FX,1,Framestore,13,Framestorecommercial,1,François Baranger,1,Francoise Losito,1,Frank Tzeng,3,Frankie,1,Fredrik Löfberg,1,Freelance,1,french,1,fringe,1,Frost,12,Fry render,1,FSM,1,Fstorm,6,Fstorm for 3ds Max,3,Fstorm Render,3,ftrack,4,Fujifilm,2,Full Sail University,2,FumeFX,36,Furious 7,3,FurryBall,1,Fuse,1,FuseFX,2,Fusion,39,Fusion 360,2,Fusion 8,2,Fusion 8 Studio,2,Fusion Studio,3,Fusion Studio 7.7,1,future,1,Future soldier,2,Futuredeluxe,1,FXguide,1,FXHOME,3,fxphd,1,G Flex,2,Gabor Ekes,1,Gaffer,1,Galal Mohey,1,gallery,838,game,40,Game Assets,1,game concept,6,game development team,3,Game engine,27,game news,3,Game of Thrones,7,Game online,1,game play,2,game preview,2,Game trailer,147,game walkthrough,1,Gameloft,2,gameplay,1,gameplay trailer,1,Games,476,games trailer,18,Gametutor,1,GDC,9,GDC 2015,4,GDC 2016,2,GDC 2018,2,GEAR VR 360 Degree,3,Geforce,8,Gelmi Studio,1,GenArts,1,GENOME,3,Gentleman Scholar,2,Geomerics,1,George Lucas,1,George Orwell,1,Ghost Games,1,Ghost Recon,2,gimpVille,1,Glu3d,1,GNOMON,145,Gobelins,4,goblins,1,God among Us,1,Godzilla,4,Golaem Crowd,11,Golden Globes,1,Google,28,Google Cardboard Plastic,1,Google Cloud Platform,1,Google Daydream,1,Google Earth Pro,1,Google Earth VR,1,Google glass,2,Google Home,1,Google Pixel Smartphones,1,Google Zync,2,Google Zync Render,1,GoPro,2,gorillaz,1,Got3d,2,GPU,74,Grading,1,Grand Theft Auto,1,Grand Theft Auto Online,1,Grant Warwick,1,Graphic card,44,graphic novel,1,Graphics Card,6,Gravity Sketch,1,Green Hippo,1,Grey Goo,1,GreyscaleGorilla,1,Grooming,2,GroundWiz,1,GrowFX,8,GTA,2,GTC,11,GTC 2013,1,GTC 2014,2,GTC 2016,1,GTX Titan Black,1,Guang Yang,1,Guardians of the Galaxy,9,Guerilla Render,2,Gustaf Holmsten,1,Gwen Vanhee,1,hair,4,Hair Farm,5,Hair Fur,4,Halo,4,Halo 2,1,HALO 5,2,Halo Nightfall,1,Hammer Chen,6,Hang Li,2,Hao Li,2,Hard Surface,2,Hardware,301,Harmony,1,Hasbro,1,Havok physics,1,Hawken,2,HBO,1,HD,5,HD Monitor,4,HDD,4,HDR Light Studio,12,HDRI,44,HDRI Hub,3,HDTV,2,heart of swarm,1,heavy armor,1,Heebok Lee,2,Hercules,1,heroes,2,Heroes of the storm,1,HgCapital,1,Hiero,8,HIEROPLAYER,3,high moon studio,1,HitFilm,1,HitFilm 3 Pro,2,hitman,2,HMZ-T3W,1,Holographic,1,HoloLens,1,Honda,1,Honglong,1,horror,1,horse,1,Hotel Transylvania 2,1,Houdini,157,Houdini 13,9,Houdini 14,4,Houdini 15,3,Houdini 16,4,Houdini 17,3,Houdini Digital Assets,1,Houdini Engine Indie,1,Houdini Indie,1,How Blockbuster Was Made,1,How to find your path in CG Industry,1,Howler,2,HP,16,HP Z34c,1,HTC,1,HTC Vive,8,human chain,1,Humster 3D,1,Humster3d,1,Hyena Studio,1,Hyperfocal Design,1,Hyperion Renderer,2,Ian Spriggs,9,IBC 2012,2,IBC 2013,1,IBC 2014,2,IBC 2015,2,ic,1,ICB,1,ICE,1,iClone,1,Icube,7,Ida,1,IDraw,1,Igor Zanic,1,iGroom,1,illusion,1,illustration,10,Illustrator,7,ILM,59,Iloura,1,Image Engine,11,Imagineer Systems,19,imago media,1,imperialism,1,Important Looking Pirates,2,Incredible 2,1,Independence Day Resurgence,1,InDesign,2,indie,1,Indigo,4,Industrial design,26,Injustice,1,inka,1,InnoBright,1,inspiration,5,intel,17,interactive,1,Internet TV,1,interview,157,Intuos5,2,Inventor Fusion,1,inversion,1,iOS,2,IOTW,33,iPad,27,iPad Air,1,iphone,32,iPhone 7,1,iPhone 7 Plus,1,iPhone Air,1,IphoneX,1,iraq,1,Iray,39,Iray 2015,1,Iray for Cinema 4D,2,iray Manager,1,Iray VR,1,iRay+,1,Iron Claw,1,ironman,3,ISART DIGITAL,1,Isotropix,9,istanbul,1,IT'S ART,1,Itoo Software,11,Ixor,1,james cameron,4,Jeff Patton,15,Jeff Simpson,1,Jen-Hsun Huang,1,Jeremy Clapin,1,Jesus2000,1,Job,1,Jocelyn Strob Simard,1,Johan Rimer,1,John Martini,1,John Walker,1,johnnt depp,1,jon klassen,1,Jonas Ekman,1,jordan,1,Jorge Baldeon,1,Joseph Drust,2,Joseph Harford,1,Josh Clos,1,Josh Herman,1,Josh Nizzi,1,Jot Touch,1,Juan Garcia,1,Juan Salazar,1,Julien Vanhoenacker,1,Jung-Won Park,1,Jungle Book,2,Jupiter Ascending,1,Jurassic World,3,Jurassic World: Fallen Kingdom,1,Justin Fields,1,Justin Holt,1,JVC,1,kadokawa,1,Kandor,1,kara,1,karate,1,KATANA,11,Kev Jenkins,1,Keying,1,KeyMission,1,KeyShot,35,KeyShot 5,2,KeyShot 5.1,1,KeyShot 6,4,KeyShot Viewer,1,kickstarter,2,Kiel Figgins,1,Kindle Fire HD,1,kinect,3,Kingsglaive,1,Kitbash,1,Klaus Skovbo,1,Knald,1,Konami,2,KORB,2,krakatoa,49,Krakatoa SR,2,Kray,1,Kris 'Antropus' Costa,1,Kris Costa,1,Kris Kelly,1,Kuler,1,Kuler Islands,1,Kung Fu Panda 3,1,kungfu,1,kungfu star,1,Kynapse,2,Lagoa,7,LAIKA,1,Lamborghini Burlero,1,LandSIM3D,1,Laptop,9,lara croft,1,last of us,1,Laubwerk,3,launch trailer,3,Le Truc studio,1,league of Legend,1,Leap Motion,3,LeapCon,1,Learn Squared,3,Learning,1,LED,2,Lee Souder,1,Lee Stranahan,1,Legacy Effects,1,legend,2,Legend of Fuyao,1,Lenovo,1,lens flares,2,Léo Ribeyrolles,1,letter,1,Leviathan,1,LG,12,LG Film Fest,1,LIGA 01,2,LIGA_01,1,Lighting,7,Lightmap,4,Lightroom,16,Lightstorm Entertainment,2,LightWave 2015,2,LightWave 2016,1,LightWave3D,29,line,1,liquid,3,Liquid Simulation,2,live action,2,Livestream,2,Ljósið,1,logan,1,lollipop,1,lollipop chainsaw,1,london,1,London Sci-Fi Film Festival,1,Long Nguyen,1,look dev,1,Look Effects,1,Lord of the rings,1,lords,1,Lostboys Studio,1,LOTR,1,Luan Nguyen,1,Lucasfilm,5,lucky,1,LUCY,1,Łukasz Sztukowski,1,Luke Millar,1,Luma Pictures,7,Lumberyard,5,LumenRT,7,Lumion,9,Lumion 5.7,1,Luxigon,2,Luxion,13,Luxology,23,LuxRender,1,LuxRender; Download,2,Mac,10,Mac Pro,3,MacBook Pro,1,Maciej Kuciara,3,Mackevision,2,Mad Max Fury Road,2,MadCar,1,Madder Mortem,1,Magazine,4,Magic Bullet Looks,1,Magic Leap,1,Magic Leap One,2,Mahmoud Salah,1,Mai Nguyen,1,Main Title Sequence,3,MakeHuman,2,Making of,306,Management,4,manhattan,1,Mantra,5,ManvsMachine,2,marc craste,1,Marcello Pattarin,1,Marcos Sampaio,1,Marek Denko,3,Mari,77,MARI indie,1,mario ucci,1,Market,1,market farmhouse,1,Marmoset,3,Marmoset toolbag,12,Marvel,23,Marvel Studios,5,Marvelous Designer,44,Marvelous Machines,1,Maryam Nademi,1,Mass Effect 3,2,Mass Market,1,MassFX,2,massive attack,2,Massive Black,1,Massive Prime,1,Master Zap,2,Mastering CGI,1,MatchMove,3,MatchMover,1,Material,43,Material-Z,1,Mathieu Aerni,1,Mathieu Auvray,1,Matt Frodsham,1,matte painting,27,Matthew Bannister,1,MAX,2,MAX 2014,3,Max Payne,2,Max Underground,2,Maxim Zhestkov,1,maxon,80,Maxpayne3,1,MaxScript,3,Maxtree,2,Maxwell,32,Maxwell Render,4,Maya,19,Maya 2016,3,Maya LT,9,Maya LT 2016,1,Maya LT 2017,1,Maya Tutorial,12,mayan,1,mbFeatherTools,1,MCG,1,Mech,1,medal of honor,1,media,1,Media Design School,1,Media Encoder,1,Medusateam,1,Megascans,6,Megascans Bridge,2,Megascans Studio,1,Mental Ray,77,Mercedes,4,MeshFusion,3,Meshmixer,3,messiah:studio,1,Metal gear,1,Metal mill,5,Method Design,1,Method Studios,5,MGODI,1,Miarmy,2,Michael Bay,4,Michal Kriukow,1,michelin,1,Micro Cinema Cameras,1,Microsoft,28,Microsoft HoloLens,3,Microsoft Studios,1,Microsoft Windows,4,middle earth,1,Mighty Pen,1,mihai wilson,1,Mike Winkelmann,1,mikros image,1,Milan Nikolic,1,MindOverEye,1,Minions,1,MIR,1,Mischief,3,Mixamo,7,Mixer,1,MMO,6,MOANA,2,Mobile Workstation,3,Mobile World Congress 2016,1,Mocap,5,mocha,29,mocha Plus,1,Mocha Pro,2,Mocha Pro 4,2,Model Free,2,Modeling,135,modo,72,MODO 801,1,MODO 901,2,MODO indie,1,MOH,1,Mohamed Alaa,1,Mokacam,1,Monitor,23,monkey island,1,Monsters Dark Continent,1,Montreal Canada,1,moon,1,moon raker,1,Mortal Kombat,2,Mortal Kombat X,3,Mortal Kombat XL,1,MoSketch,1,most anticipated,1,most wanted,1,Motion 5,2,motion capture,14,Motion Design,5,Motion Graphics,178,motion504,1,MotionBuilder,8,MotionBuilder 2014,1,mouse,1,Movie,1,MPC,71,Mr. X Inc,2,MSI,3,MTV,2,Mudbox,80,Mudbox 2014,3,Mudbox 2015,3,Multiphysics,1,multiplayer,1,Multiscatters,1,Murat Kılıç,1,music,3,music video,21,musuta,1,MVN Animate,1,N3 Design,1,NAB 2009,9,NAB 2010,3,NAB 2012,11,NAB 2013,6,NAB 2014,5,NAB 2015,3,NAB 2016,1,NAB 2018,1,NAB2011,2,NAIAD,19,Namco Bandai Games,3,Napalm,1,Napoleon ruler,1,Naren Naidoo,1,nasa,3,Natron,1,NaturalPoint,1,Naughty Dog,8,nauhgty dog,2,Nazar Noschenko,1,nDo,3,NDS,1,Need for Speed,8,Need for Speed Rivals,1,Neil Armstrong,1,Neill Blomkamp,1,neoscape,22,netfabb,1,Netflix,1,NetherRealm Studios,2,Networks,1,new york times,2,new units,1,news,168,NewTek,11,Next Limit,38,nextgen,1,NFS,1,nhb,6,NHL,1,Nice Shoes,1,NIck Cross,1,Nicolas Anthanè,1,Nicolas Delille,1,nightmare,1,Nike,5,Nimble Collective,1,Nintendo,1,Nintendo Switch,1,Nintendo Wii,1,Noah,2,NoEmotion,3,noise,1,Not To Scale,1,Notebook,1,NOX,2,Npower,4,Nuit Blanche,1,Nuke,126,NUKE 9,5,Nuke Studio,7,NUKEX,1,Nvidia,202,Nvidia Faceworks,1,NVIDIA GRID vGPU,1,NVIDIA GRID Virtual GPU,1,Nvidia HairWorks,1,NVIDIA Kepler,4,NVIDIA Maximus,5,NVIDIA RTX,2,Nvidia SHIELD,3,NVIDIA Tegra,2,NVIDIA Tesla,4,NYC 3ds Max User Group,1,NYC ACM SIGGRAPH,1,O'Neill,1,OatsStudio,3,Obey,1,OC3 Entertainment,1,Octane for 3ds Max,2,Octane for Houdini,1,Octane Render,42,ocula,3,Oculus,8,Oculus Connec,2,Oculus Rift,5,official trailer,4,ogily,1,Ólafur Arnalds,1,olympics,1,Omar Meradi,1,open Source,7,OpenEXR,1,OpenGL,1,OpenSubdiv,2,OpenVR Recorder,1,Optical flares,3,OptiTrack,12,Orijin,1,Ornatrix,7,Oscar,19,oscars,16,OTOY,2,OverWatch,1,paint chips,1,Painter,8,Painting,23,PaintShop Pro,1,Panasonic,2,Panoply,1,Panorama Extractor,1,parable,1,Paragon,2,Paramount,1,paris,1,Particle Skull,3,particles,60,particleskull,1,particular,3,Pascal architecture,1,Passion Pictures,2,pastel,1,Paul H. Paulino,1,Paul Hellard,1,PBR materials,1,pc,19,Pdplayer,6,Penguins of Madagascar,1,Per Haagensen,1,PES,7,PES 2013,6,PES 2014,2,PES 2015,2,Peter Berg,1,Peter Guthrie,1,Peugeot,1,Pflow,1,PFlow Toolbox,2,Phil Moreton,1,Philip Harris-Genois,1,Phoenix FD,23,Photo Editing,7,Photography,23,Photoshop,218,Photoshop CC,6,Photoshop CS6,3,Photoshop CS6S,1,Photoshop Elements,2,Photoshop Elements 14,1,PhysX,1,piano,1,Picture Front,2,Piotr Adamczyk,1,pipeline,1,PipelineFX,3,Pixar,42,Pixar Animation Studios,5,Pixar Tractor,1,Pixelhunters,1,PIXOLOGIC,61,Pixomondo,9,Planar Systems,1,Planetside,8,Plant Factory,3,Platige Image,5,PlayStation,14,PlayStation 3,1,PlayStation 4,10,PlayStation Now,1,Plugin,569,POILUS,1,Point cloud data,1,Polska,1,Polybrush,6,Polynoid,2,Porsche,1,Poser,3,post production,10,PostPanic,1,PostPro18,1,Premiere Elements,1,Premiere Pro,5,Premium3Dmodels,1,Presets,1,preview,33,Prime Focus,3,Printer,2,Product,306,Product Design,4,Product Focus,2,Project Felix,1,Project Geppetto,3,Project Manager,1,Project Primetime,1,Project Sci-Viz,1,projection mapping,1,Projector,1,promo,1,PROVIZ,1,PS3,25,PS4,9,PSD-manager,4,psyop,3,Pulldownit,2,Punchcard,1,Python,5,Qolop TG,1,Quadro,2,Quadro P5000,1,Quadro P6000,1,quantic dream,1,quba michalski,1,Qube!,3,Quentin Medda,1,Quicktime,1,Quidam,3,Quixel,14,racing,1,Rafael Reis,1,RailClone,3,Rainer Duda,1,RandomControl,1,Rango,1,Rayfire,30,RDT,1,Real Displacement Textures,7,Realflow,54,RealFlow 2013,1,RealFlow 2014,6,RealFlow 2015,3,Realistic Render,16,realtime,167,RealtimeUK,11,Rebus Farm,2,Red Engine,1,Red Giant,24,Redshift,11,reel,170,Reel of the Month,10,reinterpretations,1,Reliance MediaWorks,1,Relic Entertainment,1,Relicts,1,Render,253,Render engine,2,render farm,10,Render Legion,1,Render Rocket,1,Rendering,88,Rendering Management,13,RenderMan,22,RenderPal,1,Resident Evil: Revelations 2,1,retopology,3,Retouching,1,review,22,Revit,4,RevUp Render,1,RFX,1,Rhett Dashwood,1,Rhino 3d,9,Richard Rosenman,1,Richard Spriggs,1,rick thiele,1,rigging,39,Rise of the Tomb Raider,1,Rising,1,Rising Sun Pictures,5,RizomUV,1,RnD,3,Robert Stromberg,2,Robocop,1,Robot,8,Rocketbox,1,Rockstar Game,7,Rockstar Games,5,Rocksteady Studios,1,Rocky Meng,1,Rodeo FX,5,Romell Chopraa,1,ron Gilbert,1,Ronan Mahon,1,Ronen Bekerman,3,Rory Björkman,1,Roto,1,RPC,1,RPG,1,RTX,1,Ruairi Robinson,1,Ruben Morales,1,Ruff Mercy,1,Rumblebox Studios,1,russ murphy,1,Ryan Kingslien,1,Ryan Lim,1,Ryan Trowbridge,1,sabber interactive,1,saints,1,sam fisher,1,Samsung,10,Samsung Galaxy S7,1,San Andreas,1,San Francisco,1,Sarofsky Corp.,3,Sava Zivkovic,1,Scaleform,3,Scan Engine,1,Scan Model,3,Scanline VFX,10,Sci-Fi,11,sci-fi thriller,2,Scott Sewel,1,scottish flu,1,Screen,1,script,90,sculpt,45,Seagate,2,Sebastian Schäfer,1,Security,2,Sedat Açıklar,1,SeeControl,1,SEGA,3,Sehsucht,18,Sequoia,2,Sergey Nazarov,1,Sergey Pereskokov,1,Seungmin Kim,2,shader,24,Shaderlight,5,shadow 2,1,Shadow Theatre,1,Shave and a Haircut,1,Shawn Wang,1,Shepherd Mocap Sync,1,shilo,7,Shōgun,2,short film,70,Shotgun,4,Shotgun Software,4,show reel,68,showreel,44,sidefx,59,Siger Studio,1,siggraph,7,SIGGRAPH 2009,24,SIGGRAPH 2010,39,SIGGRAPH 2011,27,SIGGRAPH 2012,21,SIGGRAPH 2013,18,SIGGRAPH 2014,8,SIGGRAPH 2015,12,SIGGRAPH 2016,3,SIGGRAPH 2017,7,SIGGRAPH 2018,8,SIGGRAPH Asia,2,SIGGRAPH Asia 2009,12,SIGGRAPH Asia 2010,1,SIGGRAPH Asia 2011,2,SIGGRAPH Asia 2012,3,SIGGRAPH Asia 2013,1,SIGGRAPH Asia 2015,1,Silvio Valinhos,1,Simon Gomez,1,Simow Labrim,1,Simulation,51,skater,1,Sketch,6,SketchBook Pro,3,SketchiMo,1,Sketchup,32,SketchUp 2015,1,Skhizein,1,skyrim,1,sleepingdogs,1,Slow Poison,1,Smart phone,4,Smartphone,8,Smarty Ring,1,Snappers,1,Snoop Dogg,1,Snow,1,Snowboarding,1,SOA Academy,4,soccer,1,Socialcam,2,Softbank,1,Softimage,108,Softimage 2013,2,Softimage 2014,3,SoftKinetic,1,Software,1198,solid,1,Solid Angle,2,Sony,35,sony online,1,Sony Pictures Entertainment,1,Sony Pictures Imageworks,11,Sony Pictures Studios,1,Sony Santa Monica,1,Sony Vegas Pro,1,SonyPictures,1,Sound,11,Soundbooth,1,Soyoung Kim,1,SpaceMouse,1,spaceships,2,Spacious Thoughts,1,Spain,1,special effects,2,spectrum,1,SpeedTree,11,spiderman,5,splinter cell,1,sports,2,Spotlight,1300,SprayTrace,1,sprite,1,Spumco,1,square enix,6,Squint Opera,1,SSD,2,star,1,star wars,3,Star Wars: The Force Awakens,1,starcraft 2,2,StarCraft II,1,stargate,1,START Singapore,1,starwars,2,State of Art Academy,3,Steam,3,steel battalion,1,Stereoscopic,21,Stereoscopy,5,Steven Knipping,1,Stimuli,1,Stock,1,Stock Footages,1,Stoke MX,3,Storage,1,Store,1,Stories AG,1,Storm,2,storyboard,1,Storyboard Pro 5,1,Storz & Escherich,1,stream,2,Strike Vector EX,1,Stu Bayley,1,student,4,Student Gallery,1,student project,1,studio,380,Studio Aiko,1,studio aka,1,Studio Profile,6,Studio Spotlight,1,Studio Tools Pro,1,Stylized,1,Submit,4,Substance Designer,33,Substance Painter,48,Super Bowl,2,Süperfad,2,Supinfocom Arles,1,Surface Book,1,Surface Pro 3,1,Surface Studio,1,survey,6,Sweetworld,1,swine flu,1,SXSW Film Festival,1,Syd Mead,1,SynthEyes,3,Tablet,19,Takafumi Tsuhiya,1,takcom,1,Tamas Medve,2,Taylor Kitsch,1,Tearte,1,teaser,2,Tech,18,Tech news,93,Technical,18,Technicolor,1,Tekken 7,1,Ten24,1,tera,1,Terminator Genisys,3,Terragen,14,Terrain,1,Territory,3,Terry White,1,Tetsuya Nomura,1,texture,108,texture painting,2,Textures,34,texturing,28,TexturingXYZ,4,The Aaron Sims Company,1,The Bravery,1,the cave,1,The Creative Assembly,1,The Crew,1,The Division,2,The Embassy,2,the expendables 2 video game,1,The Foundry,1,The Foundry's Board,1,The Good Dinosaur,1,The Jungle Book,3,The Leviathan,1,the lighthouse keeper,1,The Martian,3,the mill,36,The Mission Studio,1,the raven,1,The Rookies,2,the secret world,1,The Walking Dead,1,The Witcher 3 Wild Hunt,1,Thea Render,2,TheHouseFX,1,Thepixellab,1,Thinkbox Software,54,ThinkingParticles,38,Thornberg Forester,1,thriller,1,Thumb Labs,1,Thunder Cloud Studio,2,Thunderbolt 2,1,Tilt Brush,1,tim bollinger,1,tim burton,1,Tim Van Helsdingen,1,Time-Lapse HDRI,1,timelaps,1,Tippett Studio,1,Tips 'n tricks,4,Titan X,1,Title Sequence,2,tolkien,1,Tom Guest,1,tom waits,1,Tomáš Sciskala,1,tomb raider,1,Tomek Bagiński,1,Tomorrowland,1,Tony Andreas Rudolph,1,Tony Zagoraios,1,Toon Boom,4,top 10,1,Topogun,1,Toshiba,1,Touchscreen,2,Toughpad,1,Toxik,2,Toyota,2,Tracking,49,Tractor,1,tragedy,1,Trailer,275,Training,298,Transformers,5,Transformers 3,8,Transformers 4,4,Transparent House,1,trapcode,22,Trapcode Echospace,1,Trapcode MIR,1,Trapcode Particular,2,Triangleform,1,trine,1,Trixter,1,Troll VFX,2,TubeMogul,1,TurbulenceFD,3,turkish edition,1,Turn 10 Studios,1,Tutorial,826,TV,22,TV Show,2,TV Spot,2,tvc,7,Twenty120,1,Twinmotion,3,twisted metal,1,typo 3D,1,typographic,1,typography,3,Tyroe,1,ubik,1,ubisoft,18,UDK,1,UE4Arch,2,Ultimatte,1,Ultra HD,1,UltraWide,2,Un tour de Manège,1,Uncharted 3,1,Uncharted 4,4,Uncharted Territory,1,Uniform,4,UNIGINE,2,Unique Vision Studio,1,Unit Image,8,united snakes,1,United States,1,united visual artists,1,Unity,22,Universal Pictures,2,Universal Scene Description,1,Unreal,37,Unreal 4.6,1,Unreal Assets,5,Unreal Awards,1,Unreal Engine,78,unreal engine 4,17,Unreal for Archviz,2,Unreal Studio,3,unwrap,6,urban,1,URSA Mini 4.6K,1,USD Hydra technology,1,Uvmap,8,V-Ray,4,V-Ray 3.0,2,V-ray AppSDK,1,V-Ray Cloud,1,V-Ray Days,2,V-Ray for Creative Cloud,1,V-Ray for Unreal Engine,2,V-Ray Material Presets Pro,1,Valve,2,vanquish,1,VCA,1,VEA Games,1,Vegas Pro,2,Vehicle Render,1,VES,17,vf,1,VFS,7,vfx,1072,VFX Artist,2,VFX Breakdown,140,VGA,1,VGX,1,via grafik,1,Vicon,6,video,20,Video Copilot,38,Video Editing,17,videogame,4,VIEW Conference,12,Viki Yeo,1,Virtual Designer RE,1,Virtual Reality,16,Virtual Reality Game,2,Virtual Workstation,1,VIShopper,2,visual effects,19,visual exploration,2,visualhouse,1,visualization,18,Vitaly Bulgarov,10,Vixen studios,1,Viz Artist,1,Viz-People,1,Vizrt,1,Vladimir Koylazov,1,Vladislav Solovjov,1,Vlado,1,Volkan Kaçar,1,Volume Breaker,1,VR,56,VR camera,2,VR headset,4,VR rendering,3,Vray,470,Vray 3.0,4,Vray for Rhino,3,vray sun sky,1,Vray Workshop Image of the Week,84,VRayPattern,1,VrayRT,17,VRgineers,1,VRscans,2,Vue,54,vyonyx,9,wacom,21,Wail To God,1,wall,1,Walt Disney,3,Walt Disney Animation Studios,4,Walt Disney Co,1,war,1,War for the Planet of the Apes,1,war machine,1,Warcraft Movie,1,warfighter,1,wargaming.net,1,Warner Bros,3,warner brothers,1,WarnerBros,1,Warners Bros,1,Warren Trezevant,1,Watch,2,watch dog,1,Watch Dogs 2,1,water,1,Wayne Hollingsworth,1,weapons,1,Weather,1,Web,4,webinar,12,Welovepost,1,Weta Digital,10,weweremonkeys,1,Whiskytree,2,wiesbaden,1,wii,4,wii U,3,Will MacNeil,1,Will Murai,1,Will Wallace,1,windows 10,1,windows 7,2,windows 8,6,Winner,1,Winter Olympics,1,WIP,2,Wired,2,WITCH CHAPTER 0 [cry],1,Wizz Design,1,Woodblock,1,Workstation,16,Workstations for Virtual Reality,1,World Creator 2,1,World Machine,2,world of tanks,1,world of warplanes,1,WOT,1,WWF,2,X-Particles,3,XboX,8,Xbox 360,35,Xbox One,19,Xfrog,5,xGen,3,XMesh MX,4,xNormal,1,Xoio,6,Xsens,1,XYZTexturing,3,Yellow Cake,1,Yeti,2,Yibing Jiang,3,Yonder,1,Youtube,1,Yuneec,1,Yuuki Morita,1,Zap Andersson,1,ZBook,1,ZBrsuh,6,zbrush,287,ZBrush 4R7,7,ZBrush 4R8,2,ZBrush Core,1,ZBrush Summit,2,Zhee-Shee Production,1,Zoic Studios,3,zombi U,2,zombie,2,Zombie Studio,1,Zootopia,2,Zuliban,3,Zync,1,
ltr
item
CG Daily News: How They Did It: District 9
How They Did It: District 9
http://img22.imageshack.us/img22/2100/530x255fvlead5982036.jpg
CG Daily News
http://www.cgrecord.net/2009/09/how-they-did-it-district-9.html
http://www.cgrecord.net/
http://www.cgrecord.net/
http://www.cgrecord.net/2009/09/how-they-did-it-district-9.html
true
3136971158729714180
UTF-8
Loaded All Posts Not found any posts VIEW ALL Readmore Reply Cancel reply Delete By Home PAGES POSTS View All RECOMMENDED FOR YOU LABEL ARCHIVE SEARCH ALL POSTS Not found any post match with your request Back Home Sunday Monday Tuesday Wednesday Thursday Friday Saturday Sun Mon Tue Wed Thu Fri Sat January February March April May June July August September October November December Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec just now 1 minute ago $$1$$ minutes ago 1 hour ago $$1$$ hours ago Yesterday $$1$$ days ago $$1$$ weeks ago more than 5 weeks ago Followers Follow THIS PREMIUM CONTENT IS LOCKED STEP 1: Share. STEP 2: Click the link you shared to unlock Copy All Code Select All Code All codes were copied to your clipboard Can not copy the codes / texts, please press [CTRL]+[C] (or CMD+C with Mac) to copy