(San Rafael, California--November 29, 2011) From December 5 to 8, Autodesk Inc., together with the support of HP, AMD and Xsens, will host 3December 2011, the company's annual celebration of 3D computer graphics and the artists who create them.
The event website will be the virtual home for celebrations, providing 3D artists with the opportunity to actively participate through events streamed live, watch free MasterClasses, view Autodesk tutorials and connect with fellow artists in user group meetings held in cities around the world.
3December Live Celebrations
On December 8, Autodesk will host a live event in Montreal, Quebec from 6 to 8 p.m. EST. The event will feature presentations by key artists in the media and entertainment industry highlighting the use of certain Autodesk tools . Modux FX will explain how scenes from the feature films Source Code and Immortals were created using software in Autodesk Entertainment Creation Suites. Artists from MOTOR VFX will present how Autodesk 3ds Max, together with Autodesk Softimage and Autodesk Flame Premium software, were used to create and finish commercials shot entirely on blue screen. Digital Dimension/Meduzarts will also hold two presentations about a high resolution print campaign that used 3D to promote Elder Skolls Bethesda and how the Mortal Kombat game cinematic was created. During the event, Autodesk will announce the recipients of the peer-nominated Autodesk Masters Award, as well as the first-ever Autodesk Junior Master Award. The live event will be followed by an Electronic Theatre presentation from the Montreal ACM SIGGRAPH Chapter from 8 to 10 p.m. EST. For the complete list of presentations that will be taking place in Montreal, visit area.autodesk.com/3dec. Registration for the event in Montreal is required and can be completed online.
Live 3December celebrations will also take place in Toronto on Dec. 7 and in Tokyo on December 8. For a complete list of local user group meetings celebrating 3December, visit the event page.
3December Online
Artists are invited to join the virtual celebrations on AREA, the Autodesk online entertainment and visualization community. All presentations and demos from the Montreal event will be livestreamed on AREA TV and will be available on demand. Online content will include free Masterclasses, tutorials, exclusive web features, The Best CG Image of the Year contest and much more.
Ars Thanea have just done a complete CGI car animation of new Mazda 2 For Syzygy London.
360 degrees spin of the car with floating elements shows viewers how engineers decreased weight of the car. Animation then was used on Mazda website.
Drive through the city animation reflect its character as urban car.
Check it out!
CLIENT: Mazda Global / Syzygy UK
AGENCY: Ars Thanea
Head of motion: Karol Kolodziński
Lead 3D artist: Peter Kolus
3D artist/Animator: Pawel Wilkos
Flashdeveloper: Tomek Włodarczyk
Production manager: Marcin Molski
Sound design: Jarek Lublin
Syzygy UK:
Project manager: Doug McKnight
Senior project manager: Andrew Brown
Technical lead: Joe Botha
Associate creative director: Harwin Chandra
Website link:
mazda.co.uk/stories/pbc-gram-strategy/
Check out the Commercial for Nissan by a virtual community of digital artists based in Paris - Pleix
about the Pleix:
Since forming in 2001, french collective PLEIX established themeselves not as video directors of the highest order, but also as world class graphic artists, with their work appearing in Europe's best contemporary art galeries. Composing of seven individuals, Pleix works on a shared philosophy at using moving art and music to showcase their subversive view of the world. So far this has manifested itself in several videos, adverts and installations that are all based on staples of contemporary culture. They do also commercial works between their personal projects.
More information here!
Few days ago, a post production service company based in France AKAMA Studio Released the Volskwagen Hedgehog Commercial and today They have just posted the Making of video.
Let check it out!
This video demonstrates the workflow to render a 3ds Max project in the iray renderer using the integrated high-performance cloud rendering service.
The rendered project can then be shared on the web from the Project Pandora Liveview collaborative design tool, to review and iterate designs with clients and colleagues.
Ixor founded in 2005 in Athens, Greece and offers a complete range of CG services, ranging from characters, to complex fluid / liquid simulations and seamless visual effects images. They also have a small studio in Florida. Andronikos Bisogiannis from Ixor, talks about how RealFlow was used in the Tsai commercial.
CREDITS:
VFX: IXOR
Andronikos Bisogiannis (FX Supervisor)
Nikos Lazaridis (FX Artist)
Vassilis Antipas (FX Artist)
Stefanie Blatt (FX Artist)
Antonis Fylladitis (General Artist)
Stavros Karagiannis (General Artist)
Iosif Kefalas (On-Set Supervising & Matchmove Artist)
Ole Lemming (Plugin Support)
Philips Marmoutas (Proj. Supervisor / Compositor Postfaust)
Check full making of article here!
What is bokeh and how do you control it? Find out in this Quick Tip for CINEMA 4D R13's physical render engine.
Tokyo Institute of Technology's "Tsubame 2.0" System Is Three Times More Energy-Efficient Than Comparable CPU-Only Supercomputers
SANTA CLARA, CA -- NVIDIA announced that, for the second year in a row, the world's most energy efficient petaflop-class supercomputer is powered by NVIDIA® Tesla™ GPUs.
The Tsubame 2.0 system at the Tokyo Institute of Technology's Global Scientific Information Center (GSIC) ranks as the greenest petaflop-class supercomputer on the recently released Green500 list. Published twice annually, the Green500 list, rates the 500 most energy efficient supercomputers based on performance achieved relative to power consumed.
Tsubame 2.0 is a heterogeneous supercomputer (combining both CPUs and GPUs) used to accelerate a range of scientific and industrial research in Japan. With sustained performance of 1.19 petaflops per second while consuming 1.2 megawatts, Tsubame 2.0 delivers 958 megaflops of processing power per watt of energy. It is 3.4-times more energy efficient than the next-closest x86 CPU-only petaflop system, the Cielo Cray supercomputer at Los Alamos National Laboratory, which delivers 278 megaflops per watt.
In the race to exascale computing, power efficiency has become the defining element of computing performance. Heterogeneous GPU-accelerated systems are inherently more energy efficient than CPU-only systems because applications can take advantage of the different processors for executing different jobs. The sequential parts of the application runs on CPUs, and the data- and compute-intensive parts are accelerated by the massively parallel GPU processor.
Tsubame 2.0 is comprised of HP ProLiant SL390 servers with Intel Xeon CPUs accelerated by NVIDIA Tesla GPUs. The Tesla GPUs provide more than 80 percent of its performance, enabling Tsubame 2.0 to achieve high levels of performance with very low power usage. This year, two of the five finalists for the prestigious Gordon Bell Prize ran on Tsubame 2.0, including the winner for Special Achievement in Scalability and Time-to Solution.
The latest Green500 list underscores the energy efficiency of heterogeneous computer design. Five of the world's 10 most efficient systems, and 22 of the top 30 most efficient systems, combine GPUs with CPUs.
Tesla GPUs are massively parallel accelerators based on the CUDA® parallel computing architecture. Application developers can accelerate their applications either by using CUDA C, CUDA C++, CUDA Fortran or using the simple, easy-to-use directive-based compilers.
For more information about Tsubame 2.0, visit the Tokyo Institute of Technology, Global Scientific Information and Computing Center web site. To learn more about Tesla GPUs, visit the Tesla web site. To learn more about CUDA, visit the CUDA web site.
About NVIDIA
NVIDIA (NASDAQ: NVDA) awakened the world to computer graphics when it invented the GPU in 1999. Today, its processors power a broad range of products from smart phones to supercomputers. NVIDIA's mobile processors are used in cell phones, tablets and auto infotainment systems. PC gamers rely on GPUs to enjoy spectacularly immersive worlds. Professionals use them to create visual effects in movies and design everything from golf clubs to jumbo jets. And researchers utilize GPUs to advance the frontiers of science with high-performance computing. The company holds more than 2,100 patents worldwide, including ones covering ideas essential to modern computing. For more information, see www.nvidia.com.
(November 23, 2011) Autodesk issued a call for submissions for the 2012 Best of the Best Show Reel, which will premiere at NAB on April 16 in Las Vegas, NV. The reel will be showcased in front of thousands of broadcast and film professionals at the Autodesk NAB booth (SL3315) from April 16-19, on AREA, the Autodesk website, Autodesk YouTube Channel and at other events throughout the year. Commercial, broadcast, music video, episodic, short, feature film, digital media, and interactive projects created during 2011 using any of the following Autodesk Digital Entertainment Creation software tools are eligible for submission: Flame Premium, Flame, Smoke, Maya, 3ds Max, Softimage, MotionBuilder and Mudbox.
Autodesk is also seeking high-resolution images for inclusion in its marketing materials leading up to and surrounding NAB.
To submit your work or learn more about the submission process, please visit here
The deadline for imagery submission is December 9th, 2011, and the deadline for video content submissions is February 24th, 2012.
Tech Talk in Hong Kong will focus on the next steps for pro lighting solution, Bakery Relight in its second year, plus up-dates on the forthcoming releases of Relight for mental ray® & RenderMan®
(Gemenos, France--November 23, 2011) The Bakery, the 3D computer graphics software company, will be hosting an in-depth Tech Talk on Bakery Relight™ on day one of this year’s SIGGRAPH Asia show. The talk will focus on the next steps for the Company’s interactive 3D lighting and look development software, Bakery Relight, as it enters its second year in full-time production at studios worldwide.
Demonstrations of Relight will also take place throughout the show on booth C22. SIGGRAPH Asia takes place at the Hong Kong Convention & Exhibition Centre from 13.-15. December 2011.
“We’re currently exploring new areas in the field of rendering production pipeline processes, to open the Relight interface to other technologies and generalize the Bakery workflow to address general pipeline production aspects, such as asset management/process management,“ says Bakery co-founder and CEO, Erwan Maigret, whose credits include Technical Lead on “Shrek 2”, “Madagascar” and “Shrek the Third”. “At SIGGRAPH Asia 2011, we will be showing how users of mental ray® and RenderMan® will soon be able to benefit from Relight’s unique workflow model, and how the toolset will evolve in 2012 and beyond.”
Bakery Relight users from across the Asia region have also added their endorsements as the show approaches:
“Our team has become so used to Bakery Relight now, that we can’t imagine working on future projects without it!,” says Wong Chi Kong, COO at Scrawl Studios Pte Ltd ( http://www.scrawlstudios.com ), Singapore/Scrawl Suzhou Co. Ltd, China. “In the past, it would have taken us two to three times longer to light our scenes to the amazing standard, which Relight can achieve – not to mention the additional time for rendering and compositing! Bakery Relight gives us far greater control in terms of consistency and quality, and is extremely quick and easy to make amendments. We can train almost anyone to use the software, without a long familiarization period. This is great when we need to re-deploy people quickly to help out with lighting and rendering work in crunch deadline situations.”
Jin Liu, General Manager, T-ANI Digital Image Co., Ltd, China ( http://www.t-ani.com ) said, “Bakery Relight is a really great piece of software - amazingly efficient, very controllable. It provides a smart rendering solution that is extremely useful for complicated projects. With Relight, you almost feel that you have the constant support of an invisible lighting technical director! We’re able to obtain the rendered results of lighting modifications within seconds, which gives our artists more time for creativity, and less time waiting for rendering. Based on the data cache of particle clouds, Relight makes full use of our hardware and dramatically increases our productivity. For us, the best part is that because of Relight, we have less expenditure on hardware. This is a key factor for many companies here in China.”
Bakery Relight is available for Linux and Microsoft® Windows® and is fully compatible with leading animation and VFX software packages, such as Autodesk® Maya®, Autodesk® Softimage® and Autodesk® 3ds Max®.
Renderman Re-rendering in Bakery Relight.
Ptex Support in Bakery Relight
Mental Ray Integration in Relight
To view the latest range of Bakery Relight demo videos, visit here!
For further information on Bakery Relight, visit: http://www.bakery3d.com.
For further details on the SIGGRAPH Asia 2011 Exhibition and Tech Talk program, visit: http://www.siggraph.org/asia2011/exhibitor-tech-talks.
About the Bakery:
The Bakery ( http://www.bakery3D.com ) is a 3D computer graphics company that provides pioneering software solutions for the feature film, TV and the industrial, architectural and automotive design industries. The company’s first product is Bakery Relight™, an interactive lighting and rendering suite of tools for the high-end feature film, TV and design markets. The Bakery was founded in Gemenos, France in 2007 by veteran motion picture artists and technologists, Erwan Maigret and Arnauld Lamorlette. In 2011, Lamorlette earned an Academy Motion Pictures Arts and Sciences Technical Achievement Award for co-developing a global illumination solution, and Maigret holds a patent on laser-based glasses technology.
a freelance 3d artist based in the Pacific Northwest, USA - Nathan Vegdahl shows his rigging and animation Reel 2011. It includes work from Big Buck Bunny, Project London, Sintel, and American Cougars. Check it out!
AutoCAD Quick Send to 3ds Max workflow is a technology that enables quick transferring of a design created in AutoCAD® into Autodesk® 3ds Max® and Autodesk® 3ds Max® Design. This add-in will reduce the number of steps involved in transferring data between these applications, as well as allow you to use, create, and share presets that will increase your.Feature video:
Working with One File Working with Multiple Files The technology preview will operate until March 1, 2012. but you can help to improve this technology by sending your feedback here!
Chaosgroup has interviewed Olivier Campagne of Artefactory Lab who talks about his experience with the short film 5:46 am, depicting Paris one meter underwater. Check out the interview here.
Evermotion has unveiled their new 3d model collection Archmodels vol. 104
Archmodels vol. 104 includes 62 highly detailed models of night clubs' equipment with textures, shaders and materials. It is ready to use, just put it into your scene.
Download Evermotion Archmodels vol. 104 here!
Autodesk is looking for a video game cinematics, trailers, in-game sequences and animations created using any or a combination of the following Autodesk softwares for their Autodesk 2012 Games Reel Which will be showcased at Game Developer Conference (GDC) from March 7-9, 2012, it will be featured at their booth, on AREA, the Autodesk website and YouTube Channel, as well as at events throughout the year.
The deadline for video and imagery submissions is January 13, 2012.
Key Hires to Ensure Future Growth of Leading 3D Software and Content Provider
Draper, UT— November 22, 2011 — Digital Art Zone, a leader in the development of 3D software and content, is pleased to announce two new additions to their executive management team. Jim Thornton, a seasoned executive, is now Digital Art Zone’s Chief Executive Officer; while Ms. Maile Keone will run the marketing department, as the firm’s Chief Marketing Officer.
Mr. Thornton’s breadth of experience and background are perfectly suited to lead the company into the future. “I can think of no other place I would rather be”, said Thornton. “Digital Art Zone is an awesome company that is perfectly poised for tremendous growth. “
Dan Farr, the firm’s former CEO and company co-founder will remain on as Digital Art Zone’s Chief Strategy Officer. “Dan is an icon at our company and in the industry,” added Thornton, “I count myself lucky to lock arms with such a capable and energetic professional.” When discussing the company’s new direction, Farr stated, “Jim is the right guy to be at the helm of Digital Art Zone. His vision and drive are inspiring.”
The other new member of the executive team is Ms. Maile Keone. “Maile brings an internet marketing acumen that will be critical for our company’s future success. There is no one better suited for this position,” says Thornton.
Ms. Keone expressed her enthusiasm at the opportunity by saying “I have worked at some great internet companies in my career. Digital Art Zone is unique because of the technology we provide, the customers we attract and the significant opportunities for growth. I’m looking forward to working with the great folks here.”
Rounding out the Digital Art Zone executive team are Brad Nielsen as the Chief Financial Officer and Taylor Wilson as the Chief Technology Officer.
And while they aren’t about to share any secrets, Thornton and the team made it clear that great things are ahead for the company. “Digital Art Zone has never been in a better position to deliver great products to our existing and potential customers,” said Thornton. “We have great investors, the best products in the industry and a laser-focused vision of where we are going.”
About Digital Art Zone
Digital Art Zone (DAZ 3D) is a leading provider of 3D software and content. Digital Art Zone publishes DAZ Studio, an easy to use and robust software tool with a simple user interface. The software allows digital artists to easily add and manipulate models and morphs; adjust the textures applied to models; add and adjust lighting and to fine-tune the render process. Regardless of your artistic background, Digital Art Zone empowers anyone to create better graphics faster through its powerful tools and content. For more information, visit www.daz3d.com.
Chaosgroup has unveiled the latest version of their fluid simulation tool Phoenix FD 2.0.
Phoenix FD 2.0 Key Features: Foam and splashes particle shader Phoenix FD 2.0 comes with a brand new shader for particles. It allows the user to have full control when shading foam and splashes particles generated by the new core. Simulation of foam and splashes
With the new and improved simulation core, Phoenix FD is capable of generating particles where foam or splashes would usually appear in a simulation. This extraordinary new technology allows the user to further increase the realism of liquid simulations.
GPU Preview improvements
In version 2.0 the GPU preview fully supports lighting and diffuse color shading. Additionally, the renderings can be automatically saved as PNG files in the simulation directory. This seemingly simple upgrade will allow the user to quickly preview their simulation results without having to waste time rendering them on the CPU.
Render particles as smoke
New and improved shading methods allow the rendering of small tightly packed particles as a volumetric smoke. This simple yet powerful solution allows the user to add plenty of detail to their simulations without sacrificing render times.
Particle export
The simulation core has been further improved to be able to efficiently trace particles. This allows the user to add even finer detail to all types of simulations without the need to increase the simulation resolution..
more information here!
Axis is a joint partnership between SAGA and the GNOMON, the leading and most respected Visual Effects school in the world. Designed to revolutionize the quality of training available to aspiring digital artists in Brazil, Axis will bring industry developed curriculum, exceptional facilities and top Hollywood professionals to their campus in Sao Paulo.
Axis is being built upon the foundation that has been developed by Gnomon since it's founding in 1997. Operating on a quarter system with four ten- week terms per year, classes are taught using Gnomon's curriculum, by instructors who have developed their skills in Hollywood. All classes are specific to the various tools and techniques used in production, while emphasizing the artistic nature of the work that is created for films, broadcast and games.
Axis will offer Gnomon's full-time two year generalist program, structured to prepare artists for careers in the entertainment industries either in Brazil, or across the globe! Just like Gnomon Hollywood, courses will also be made available to adults on an extension basis, for those looking to improve their skills via our Professional Studies program
a new facility to be launched Spring 2012
For more information, visit here!
Project: Ian Clemmer / Pause
Client: Ian Clemmer
Music and Sound Design: Box of Toys Audio
Background /
Ian asked us to score an unofficial version of his Pause Fest contribution.
Approach /
We worked closely with Ian to help build a world of atmosphere and mystery. The visuals are intense and abstract, prompting us to respond in a similar fashion.
Watch the official version here: vimeo.com/32077276
The exterior is strongly characterized by a design driven by the search for maximum aerodynamic efficiency and by the trademark styling cues of the brand.
the advanced technological content is underlined by the combination of the white paintwork with blue LED accents that appear on the front fascia, the dynamic line that runs across the flanks, the low-positioned daytime running lights and the wheels, which integrate transparent covers aimed at optimizing the air flows by reducing turbolence.
via carbodydesign
Pixologic has announced that ZBrush4 R2b is planned to be released in the second half of December 2011 as a free-of-charge upgrade to all registered users
Now that Z4R2 has been put to the test by ZBrush users, on many different system configurations and workflow, we found some 'rough corners' which we would like to polish. Therefore, we will be releasing an update patch allowing you to take full advantage of the powerful features in Z4R2 as soon as possible, without having to wait until Z5 is released. A few extra goodies may also be included with the next update.
More information here!
This is a quick tutorial on Pixelflakes's top 10 Photoshop Shortcuts
also remember to download Pixelflakes's cutout peoples
After shipped Golaem Crowd 1.3, Golaem recently uploaded a new tutorials. Check it out! Managing character assets from Maya.
This tutorial explains how to handle a Maya character geometry and its props in the Golaem Crowd Asset Manager. It shows how to includes meshes to define asset groups and export the result as a FBX file. These groups will then be used to define visual variability at rendering time.
Managing character assets from FBX.
this tutorial explain how to do it with an external FBX file.
SIGGRAPH Asia 2011 will be held in Hong Kong from 12 to 15 December, at the Hong Kong Convention and Exhibition Centre.
Be inspired by this year's line-up of conference programs -- Art Gallery, Computer Animation Festival, Courses, Emerging Technologies, Featured Speakers, Symposium on Apps, Technical Papers, and Technical Sketches & Posters. There will also be a trade exhibition and exhibitor tech talks.
Registration is available now and closes 4 December, 23:59 Hong Kong time. Register now here
For more information, visit www.siggraph.org/asia2011
Akama Studio Releases Volskwagen Hedgehog Commercial. Check it out! Director : Akama
Production : Wanda
Agency : V
Post-production : Akama Studio
Sound-production : The
VFX Supervisor : Mhamed Elmezoued, Stéphane Montel
Storyboard : Denis Do
Layout : Guillaume Marquez
Modeling Hedgehog : Cki Vang
Modeling Env : Mhamed Elmezoued, Stéphane Montel
Mapping/Shading : Mhamed Elmezoued, Stéphane Montel, Cki Vang
HairStyling : Mhamed Elmezoued, Stéphane Montel
Setup : Arnaud De Mullenheim
Animation : Thomas Arnould, Guillaume Dhont, Guillaume Marquez, Helder Pereira
Matte-painting : Delphine Van Bay
Match-moving : Mhamed Elmezoued, Stéphane Montel
Lighting/Compositing : Mhamed Elmezoued, Stéphane Montel
Color Grading : Stéphane Montel
Pixelflakes shares us a pack of some cutout people, This is a small teaser for the upcoming ‘Goodie Pack’ which will include a variety of royalty free 2D imagery such as cutout people and trees. As well as this it will also include some top of the line HDRI’s which we have created especially for our renderings. They will unveil full pack around Christmas time but now you can Download it here!
See an overview of the progress that Exocortex mades concerning the Alembic integration for Autodesk Softimage.
Blender artist Manuel L. from Germany shows us how to post process Depth of Field into an image faking Depth of field with Blender is actually not the hardest job. Once you figured out how to do it, its pretty easy with the nodes, and the reconstruction of the 3d scene (which is just blocking out) needs some training, but works well then. The biggest problems were getting the camera angle correctly (very, very frustrating job) and setting the focal length (do this BEFORE trying to get the angle! You can find the focal length of the camera in most photos meta data).Read tutorial here!
As announcement yesterday, NVIDIA has unveiled Maximus™ technology, NVIDIA Maximus technology allows professionals to process compute-heavy tasks at their desks while simultaneously serving up visually demanding graphics. With this new technology, professionals have the freedom to act on ideas immediately. For example, when a product designer believes a component of their design is complete, NVIDIA Maximus allows them to immediately begin validation simulation at their desk – while still continuing to act on new design ideas with full interactive 3D graphics. Their creative work process is no longer tied down by the limitations imposed on them by traditional workstations.
Peter de Lappe, software product manager for NVIDIA, demonstrates how new NVIDIA Maximus technology empowers users with the ability to simultaneously design in Inventor and render in Autodesk 3ds Max 2012 — an incredible interactive rendering experience previously not possible that's also up to 9X faster than a single CPU.
From Comedies 'The Big Bang Theory' to 'Two and a Half Men,' Dramas 'NCIS' to 'Criminal Minds,' to Fantasy and Sci-Fi -- TV Technology Rivals Hollywood Effects
(San Rafael, California--November 15, 2011) This year's fall television season features an impressive array of visual effects (VFX) created using Digital Entertainment Creation (DEC) software from Autodesk, Inc. (NASDAQ: ADSK) on sci-fi thrillers, dramas and sitcoms, new shows and returning favorites. Postproduction studios are applying blockbuster movie techniques and technologies to create compelling and immersive television programming on at least 50 shows this season, from the prehistoric creatures in "Terra Nova," to crime scene re-creations in "NCIS," to a powerful tornado in "Criminal Minds."
"Television schedules and budgets can be unwieldy -- yet producers and audiences demand feature film quality," said Marc Petit, senior vice president, Autodesk Media & Entertainment.
For Fox's new hit series "Terra Nova," VFX house Pixomondo made extensive use of Autodesk Maya software to animate believable, lifelike dinosaurs and help create the visually imaginative world. "Autodesk Maya is integral to the television VFX work we do on 'Terra Nova,'" said Pixomondo General Manager and Executive Producer Mark Miller. "We are challenged to create feature-worthy VFX within the parameters of a television production, so we have to make sure we are efficient and tap the right tools for the job. Working with industry standard tools like Maya is essential for a company like Pixomondo that operates 11 facilities and has over 600 artists collaborating on projects around the world."
The CW's "The Vampire Diaries" features impressive physical transformations of werewolves and vampires, as well as photo-real smoke, fire and sizzling skin effects -- all created by Los Angeles- and Vancouver-based Entity FX -- using a Maya-centric synchronized production pipeline integrated with its own proprietary digital makeup software. Entity also created numerous effects for "Charlie's Angels" and "The Secret Circle." "We've worked with Maya since before it was called Maya," noted Dan Rucinski, Entity FX executive producer. "We're always eager to see the toolset expand with every generation, because as the tools grow, our capability to create expands exponentially."
In HBO's noir-sitcom season opener of "Bored to Death," Click 3X tapped Autodesk Flame Premium 3D visual effects and look development software for a complex scene requiring a blend of live-action and photo-real computer-generated (CG) animation with advanced compositing. Click 3X achieved a weathered look by combining matte paintings and CG assets in Autodesk Flame software. Senior Flame Artist Aaron Vasquez painted trees, changed the lighting of buildings, and animated cars, traffic and even digital doubles to fill in the scene. "When creating realistic visual effects, our job is to match a virtual set to a real-world environment to draw viewers into the story," said Click 3X VFX Supervisor Theodore Maniatis. "Integrated creative tools like Flame Premium and Smoke for Mac help us deliver that necessary touch of authenticity."
MFX in Los Angeles has a reputation for creating impressive illusions for non-effects-driven television shows. The studio relied on an integrated Flame and Autodesk Flare software-based pipeline with Autodesk Smoke for Mac software for digital set extensions, greenscreen work, CG environments and 3D tracking on some of this season's most popular sitcoms: "How I Met Your Mother," "Big Bang Theory," "Dexter," "Mike & Molly," "Shameless," "Two and a Half Men," "Friday Night Lights," and "Last Man Standing," as well as the new hit drama "Prime Suspect." "We're thrilled to work on such a variety of popular TV shows and even more proud that this season some of our effects work ended up comprising as much as 10 minutes of running time in a single episode," said Rick Redick, MFX Design visual effects producer.
- The popular new drama "Teen Wolf" called for a fully digital alpha-male teen werewolf, for which Eden Effects turned to Autodesk 3ds Max modeling, animation, rendering and compositing software. The talented team at Eden also worked extensively on the new seasons of "NCIS," "Fringe," "Community," "Chuck," "Pan Am" and "The Playboy Club."
- FuseFX used 3ds Max for the 3D animation on their 10-15 active television shows in production -- creating particle systems, sensory visualizations, CG trains and animals as well as storm systems and set extensions on shows as varied as "Criminal Minds," "Glee," "The Good Wife," "Hung," "Luck," and "Alphas."
- LOOK Effects relied on Maya software for two series this season: "Bones" and "The Finder."
- Level 3 used Autodesk creative finishing software (Flame and Smoke for Mac) for 3D visual effects, editorial finishing, look development and color grading on fifty shows, including: "Alphas," "Castle," "Bones," "CSI: NY," "Drop Dead Diva," "Fringe," "House," "The Office," "The Simpsons" and "Weeds."
- Spin Pro used Maya and Autodesk Inferno software for two effects-heavy mini-series, "The Borgias" and "Titanic."
Commenting on this season's line-up, Marc Petit said, "We're pleased that artists apply Autodesk tools to help solve so many of the complex VFX challenges they face week after week in some of the most impressive programming currently on home screens."
About Autodesk
Autodesk, Inc., is a leader in 3D design, engineering and entertainment software. Customers across the manufacturing, architecture, building, construction, and media and entertainment industries – including the last 16 Academy Award winners for Best Visual Effects - use Autodesk software to design, visualize and simulate their ideas. Since its introduction of AutoCAD software in 1982, Autodesk continues to develop the broadest portfolio of state-of-the-art software for global markets. For additional information about Autodesk, visit http://www.autodesk.com.
Straightface Studios reduces idle time to less than 1%; duber studios saves 60% on power costs in a year with Deadline’s Power Management feature
Los Angeles, CA (November 14, 2011) – Thinkbox Software reports that studios are saving significant electricity and related costs by using the Power Management feature in its Deadline render management system. By controlling machine startup/shutdown on render farms automatically, Deadline helps studios reduce idle time, power and cooling costs.
Seattle-based animation and VFX company Straightface Studios has 15 nodes and six artist workstations on its render farm. They have been using the Deadline Power Management feature for years, but realized its true impact when they turned it off for a month. During the 30 days when artists turned computers on and off manually, the amount of time that computers were on and drawing power but inactive (idle) doubled to 40%.
“That’s five hours a day of wasted electricity,” said Straightface artist Gavin Greenwalt. “It definitely caught our attention. We thought that with a little tweaking of our power management policy we could get that down to 10%.” What the studio did was even more significant; they reduced idle times to nearly zero -- .15% using Deadline.
“What I realized is that when we were using a ‘free’ solution in the past it was really not free. It cost us time because we had to babysit the farm and send artists down the row hitting power buttons. It didn’t have the features or flexibility we needed, either. Combine the time and the benefit of Deadline’s features with the actual dollar savings we get through power savings and it’s so clear – Deadline pays for itself many times over.”
Director and TD Lukas Dubeda of duber studio in the Czech Republic had a similar experience. “Being a pipeline TD I’m obsessed with efficiency and effectiveness. With the Power Management feature in Deadline I estimate we saved at least 60% on power costs over the last year. Looking at the initial cost of our 10 render nodes, with that savings the entire Deadline studio license cost pays for itself within a year and a half at our studio. And that’s not even a value we calculated when we chose Deadline. We got it because of its ease of integration, use of Python, open architecture and feature set. The power savings is just a tangible benefit on top of all that.”
image courtesy duber studios
The Deadline Power Management feature enables studios to control how machines start up and shut down automatically based on sets of render farm conditions including job load, idle times, job queue and more. Deadline also monitors external room temperature via strategically placed sensors, shutting down or starting up nodes to stay within a particular thermal envelope and alerting administrators to environmental effects. “It’s the first line of defense when there are power and thermal issues in a studio environment,” said Thinkbox Founder Chris Bond. “If something like an air conditioning unit failure happens, Deadline can help keep you from toasting your render farm.”
Bond noted, “We actually developed the Power Management feature as an internal plug-in when we were doing our own productions. As our clients needed more rendering and faster delivery, we had to keep bringing more power and more air conditioning into the building – this tool was built to help us economize for our own studio. We brought it into the commercial code with Version 2.0 and have been thrilled to see how it’s helping Deadline users. I feel really good about our contribution to saving energy overall.”
About Thinkbox Software
Thinkbox Software provides creative solutions for visual artists in entertainment, engineering and design. Developer of high-volume particle renderer Krakatoa, render farm management software Deadline and Frost particle mesher, the team of Thinkbox Software solves difficult production problems with intuitive, well-designed solutions and remarkable support. The artist-driven company creates tools that help artists manage their jobs and empower them to create worlds and imagine new realities. Thinkbox was founded in 2010 by Chris Bond, founder of Frantic Films. http://www.thinkboxsoftware.com
(Santa Clara, California--November 14, 2011) After 25 years of design and creative professionals anticipating a workstation that simultaneously performs complex analysis and visualization, NVIDIA announced today its arrival, with the introduction of NVIDIA® Maximus™ technology.
The new offering unleashes productivity and creativity, dramatically accelerating work by enabling a single system for the first time to simultaneously handle interactive graphics and the compute-intensive number crunching associated with the simulation or rendering of the results. These previously needed to be done in separate steps or on separate systems.
NVIDIA Maximus achieves this by bringing together the professional 3D graphics capability of NVIDIA Quadro® professional graphics processing units (GPUs) with the massive parallel-computing power of the NVIDIA Tesla™ C2075 companion processor—under a unified technology that transparently assigns work to the right processor and is certified by industry leading application vendors.
“To those of us who have spent their careers focused on workstations, NVIDIA Maximus represents a revolution,” said Jeff Brown, general manager, Professional Solutions Group, NVIDIA. “Previous workstation architectures forced designers and engineers to do compute-intensive work and graphics-intensive work serially and often offline. They can now do them at the same time, on the same machine, allowing professionals to explore more ideas faster and converge quickly on the best possible answers.”
With NVIDIA Maximus-enabled applications – such as those from Adobe, ANSYS, Autodesk, Bunkspeed, Dassault Systèmes and MathWorks – GPU compute work is assigned to run on the NVIDIA Tesla companion processor. This frees up the NVIDIA Quadro GPU to handle graphics functions, ensuring the quality and performance demanded by professional users.
“The real advantage of the Maximus technology is flexibility and increased productivity,” said Tim Ong, vice president of Mechanical Engineering for Sunnyvale, CA-based Liquid Robotics. “Allowing each engineer to do multiple things at once is transformative for our workflow. It’s a tremendous tool to allow my engineers to be flexible, to multitask, and to be more productive because they’re not waiting on computational power.”
NVIDIA Maximus Technology Immediately Available
The world’s leading workstation OEMs – including HP, Dell, Lenovo, and Fujitsu – are all offering workstations featuring NVIDIA Maximus technology, available for configuration and purchase immediately.
NVIDIA Maximus desktop workstation configurations start with the pairing of the NVIDIA Quadro 600 ($199 MSRP, USD) + NVIDIA Tesla C2075 ($2,499 MSRP, USD).
Quotes
- Product Design, Styling and Visualization
“Autodesk’s 3ds Max 2012 has received top scores by reviewers, and one of the reasons they cite is the new iray photorealistic renderer from NVIDIA. We’ve taken this to another level with our announcement of the ActiveShade integration with iray – giving our subscription users an interactive rendering experience – especially if they are using an NVIDIA Quadro GPU, or the new NVIDIA Maximus solution that’s up to 9X faster than a single CPU.”
-Ken Pimentel, director, Media Design, Autodesk - “Bunkspeed PRO 2012 combines Bunkspeed Shot PRO and Bunkspeed Move PRO into one easy to use interactive ray tracing package built on CUDA powered NVIDIA iray. NVIDIA Maximus powered workstations allow designers, engineers, marketers and architects to render their 3D models with Bunkspeed PRO up to 8x faster than on CPUs alone, with a whole new level of realism and interactivity.”
-Philip Lunn, founder and CEO, Bunkspeed - “By harnessing the power of GPU computing we have been able to create a more productive, high-performance, interactive user experience and, at the same time, dramatically increase the realism of visualization tools available for designers and engineers within CATIA V6. With NVIDIA Maximus, users will be able to experience the full power of these new visualization tools in their product design workflow.”
-Xavier Melkonian, director, CATIA Shape Domain, Dassault Systèmes - Engineering Simulation
“GPU computing can dramatically accelerate ANSYS engineering software simulations on workstations, in some cases doubling the number of simulations that can be considered and helping customers to adopt more pervasive use of engineering simulation. With NVIDIA Maximus platforms widely available, enterprises can now more easily take advantage of ANSYS at their desk for both interactive and computationally intensive tasks.”
-Barbara Hutchings, director of strategic partnerships at ANSYS - Digital Video Content Creation
“Adobe® Premiere® Pro CS5.5 and the Adobe Mercury Playback Engine accelerated by NVIDIA GPUs continue to lead the industry with exceptional performance in non-linear editing. NVIDIA Maximus enables video professionals to create complex, multiple-layer projects faster, further increasing their productivity and empowering their creativity.”
-Bill Roberts, director of professional video and audio product management, Adobe - Technical Computing
“MATLAB users want to take advantage of GPUs to achieve significant speed-up of their applications quickly and easily, without making major changes to their MATLAB code. The wide availability of pre-qualified NVIDIA Maximus systems for MATLAB gives our users access to commodity platforms that deliver great productivity.”
-Loren Dean, director of Engineering, MATLAB Products, MathWorks - Workstation OEMs
“HP’s Z Workstations meet the needs of some of the most compute-intensive industries in the world. With NVIDIA Maximus technology, HP is providing a powerful, new performance solution that will enable our customers to design and analyze more efficiently, ultimately increasing ROI.”
-Jeff Wood, vice president, Worldwide Marketing, Commercial Solutions, HP
HP entry-level Z400 and top-of-the line Z800 workstations are available now worldwide. - “Our advanced and superior line of Fujitsu CELSIUS workstations, including our CELSIUS M and R series, become even more powerful and versatile performers with NVIDIA Maximus technology. Our customers demand the most innovative technology for driving the new generation of high-performance 3D modeling, animation, real-time visualization, analysis, and simulation applications–NVIDIA Maximus-powered CELSIUS workstations provide the customized visualization plus computation performance they need.”
-Dieter Heiss, head of Workplace Systems at
Fujitsu Technology Solutions
Fujitsu CELSIUS M470, R570 and R670 workstations are available now in EMEAI and Japan.
For more information about NVIDIA Maximus Technology, visit here.
Follow NVIDIA Workstation/Quadro on YouTube and Twitter: @NVIDIAQuadro.
About NVIDIA
NVIDIA (NASDAQ: NVDA) awakened the world to computer graphics when it invented the GPU in 1999. Today, its processors power a broad range of products from smart phones to supercomputers. NVIDIA’s mobile processors are used in cell phones, tablets and auto infotainment systems. PC gamers rely on GPUs to enjoy spectacularly immersive worlds. Professionals use them to create visual effects in movies and design everything from golf clubs to jumbo jets. And researchers utilize GPUs to advance the frontiers of science with high-performance computing. The company holds more than 2,100 patents worldwide, including ones covering ideas essential to modern computing. For more information, see http://www.nvidia.com.
E-on software has unveiled Vue 10 Infinite and Vue 10 xStream few days ago. Now please take a look at few Vue 10 Video to find out what's new It hasVue 10 Spline Tools Tutorial Vue 10 includes a comprehensive spline toolkit that can be used for EcoSystems, terrain effects, building roads or creating objects. An automatic Path-finding algorithm can also be used to build realistic roads at the surface of terrains.
Learn how to master this new technology in Vue 10 Vue 10 EcoSystem Phasing
Vue 10 lets you individually control the phase (animation offset) of animated elements inside your EcoSystem populations. Preview Constraints Effect in Terrain Editor
In Vue 10, you can now precisely preview Environment Constraints (altitude, slope or orientation) when painting in the terrain editor (if your brush uses such constraints).
San Antonio, Texas--November 11, 2011 NewTek, a worldwide leader of 3D animation and video products, today announced NewTek LightWave™ 11, a powerful new version of its Emmy® Award-winning, professional 3D modeling, animation, and rendering software. LightWave 11 fits into any studio pipeline seamlessly, offering support for Autodesk Geometry Cache and FBX, including pixel-perfect camera matching with Autodesk Maya cameras. It also supports the Unity game engine and Pixologic GoZ ZBrush workflow, making it ideal for all production environments, including smaller specialized studios and individual artists.
Expanding on the production-proven workflow of LightWave 3D® software, LightWave 11 is a complete out-of-the-box pipeline that puts award-winning modeling, rigging, effects, dynamics, animation, and final rendering at the fingertips of 3D artists. LightWave 11 was unveiled to guests of the NewTek “VFX Minds” event held at the Academy of Television Arts and Sciences in North Hollywood on Thursday evening. Industry icon Ron Thornton (“Babylon 5” and “Star Trek: Voyager”) attended the unveiling and sees many creative possibilities for artists working with LightWave 11 software.
“My career in television began by building physical models for the BBC’s ‘Doctor Who.’ Thanks to LightWave’s power and ease of use, I was able to quickly transition to the world of 3D for ‘Babylon 5,’” said Ron Thornton of Red Earth VFX Studios. “LightWave is the one tool that allows artists to be artists instead of technicians. The advances in LightWave 11 are impressive and artists around the world have reason to celebrate.”
LightWave 11 Features
LightWave offers groundbreaking technology, such as the Virtual Preview Renderer (VPR) for onscreen real-time rendering, Anaglyph Stereoscopic Preview for real-time interocular, ‘red-blue’ anaglyphic separations, and more. Some of the many new feature enhancements in LightWave 11 include:
Instancing
- Duplicate a vast number of objects in a scene with very little memory overhead
- Create huge polygon groups with great detail while retaining reasonable rendering times
- Scale, position, rotate, and surface randomly cloned objects for realistic detail
Flocking
- Animate realistic motion of grouped objects such as such as birds, fish, insects, animals, aircraft, spaceships, and more, using a new motion modifier
- Calculate crowd avoidance of neighboring objects, target alignment, and cohesive attractions with the motion modifier
Flocking in LightWave 11
Fracture
- Pre-fracture objects that are ready for destruction with a new Modeler tool that is designed to complement Bullet Dynamics in Layout
- Animate explosions with or without using dynamics
- Control the density of fractures by applying weight maps to objects
Bullet Dynamics
- Deliver physics-based animation with the Bullet Dynamics engine in Layout and the new Fracture tool in Modeler
- Collapse buildings, create explosions, or quickly place objects in a natural-looking random pattern
Virtual Studio and Interchange Tools
- Support for new controller types, including the Sony PlayStation® Move, allow users to easily control and record the item results with a LightWave channel
- Import and export model and texture data to Pixologic ZBrush software with GoZ™ technology
Additional LightWave 11 features include powerful new render buffer capabilities, robust Python® scripting functionality, FiberFX enhancements, user interface improvements, and more.
LightWave 11 Pricing and Availability
LightWave 11 is expected to ship Q4 2011 for a suggested retail price of US$1495. Upgrade pricing from earlier versions of LightWave will be US$695. Educational pricing is also available. For more information, please visit http://www.newtek.com.
About LightWave
With a state-of-the-art renderer and powerful, intuitive modeling and animation tools, NewTek LightWave 3D® is VFX and animation software with a proven, award-winning track record. LightWave is designed to support the creative process, providing the artist with the ability to interact in real time with 3D content, to work seamlessly with the full range of software applications in production pipelines and to render on unlimited render nodes. LightWave is enjoyed worldwide, as a complete 3D production solution for visual effects in film, television, broadcast graphics, print, games, visualization, and the Web, and is responsible for more artists winning Emmy® Awards than any other 3D application.
About NewTek
Benefiting producers and artists with cost-effective and groundbreaking technologies, NewTek is a worldwide leader in 3D animation and special effects tools, portable live production and video editing including LightWave 3D®, the TriCaster™ product line and 3Play™. NewTek has won numerous industry accolades, including two Emmy® Awards. NewTek products have been used in feature films and television shows, including "Avatar," "TinTin," "Repo Men," "V," "Fringe," "CSI: Crime Scene Investigation," "The Fairly OddParents," and more.
NewTek is privately owned and based in San Antonio. For more information, please visit http://www.newtek.com.
Innovative creative studio Stardust collaborated with the digital visionaries at Razorfish to create an interactive campaign for Mercedes-Benz USA that launched in October 2011. Directed by Stardust's Alan Bibby, the rich visual narrative engages Internet viewers to explore the two latest Mercedes C-Class models the all-new 2012 Sedan and Coupe. With a swoop of the cursor, layers of the sedan or coupe are artfully peeled back to expose various features of the elegant luxury vehicles. This tale of two vehicles can be experienced now on the Mercedes-Benz website.
Razorfish enlisted Stardust to create visuals for an interactive online experience that would illustrate that the difference between a Mercedes-Benz Coupe and Sedan is much more than the simple removal of two doors? it's a complete lifestyle change. The result is a set of identical interactive films featuring fully CG cars and stylized environments woven into one experience that lets viewers shift between a Sedan lifestyle and its 'Couped' counterpart.
After fleshing out the concept, Stardust shot the live components of the very technical spot in one day. The driver was filmed in each car using motion control and the exact same lighting wearing different clothing specific to each lifestyle. With the help of Paris-based visual effects, animation and motion design studio, Mathematic, Stardust created and animated the CG elements that showcased two completely different yet identical worlds. Razorfish then programmed the components to gracefully interact resulting in two, seamlessly bridged, one-minute long spots that highlight the sedan's sophistication with daytime driving and contrast the coupe's adventurous spirit, which is shown taking to the streets at night. Stardust's work also included the creation of video components based on the interactive film for television, theater, showroom and online viewing.
this visually driven, cohesive storytelling experience really pushed us out of the usual spectrum of work we've done in the past and challenged us technically with the need for more sophisticated visual effects," said Bibby. "Every frame of animation had to be perfect since viewers can conceivably stop the action at any moment during the transformations, so none of the usual blurs or cheats apply. It was a massive labor of love with an amazingly talented team and everyone involved really poured all their energy into making this project as great as it could be."
"As a creative, it's incredibly freeing to not be tied to just one medium and instead approach each job in whatever way makes sense," said Stardust founder and Creative Director Jake Banks. "Our work on projects like this allows us to showcase our production chops across platforms. We have a design background but can produce high-quality VFX work and even bring our experience as directors, creative directors and designers to whatever the concept requires."
About Stardust Studios
Stardust is a visually driven production company with offices in Santa Monica and New York that specializes in design, motion graphics and live-action. Its collective of designers, illustrators, animators, VFX artists, directors and filmmakers continually redefine creativity for commercial, on-air, music video and experiential projects. Led by Founder and Creative Director Jake Banks, Stardust is characterized by an authentic voice and willingness to experiment. The studio has worked with the globes top ad agencies and brands on projects for HP, Nike, Sony, AT&T, Honda, Shell, Nissan, Ford, IBM, Nokia, Adidas, BMW, NYSE, LG and Microsoft, among many others. For more information, please visit stardust.tv or call Joshua Libitsky at 1-310-399-6047, or Tania Staykova at 1-212-334-7300.
PRODUCTION CREDITS
Production Company: Stardust Studios
Director/Creative Director: Alan Bibby
Executive Producer: Josh Libitsky
Senior Producer: Ryan McRee
Assistant Producer: Will Arnold
Lead Design: Aaron Maurer
Designers: Ian Densford, Kaya Ono, Sarah Ancalmo, Diana Park, Neil Tsai, Bomi Jin, Mike Tello
Storyboards: Glenn Urieta, Will Rosado
Transformation Animation: Mathematic
Technical Director: Mark Rohrer
3D Animation: Kevin Couture, Ylli Orana, Weihchieh Yu, Vinh Chung, Kyle Anderson, Atsuki Hirose, Hai Ho
Matte Painting: Martin Boksar
Lead Comp: Tonya Smay
Compositors/Animators: Chris West, Sohee Sohn, Theo Daley, Fabian Tejada, Laura Lee, Andrew Hawryluk
Editor: Andrew Borin
Music: Expansion Team
Tech
Tech Lead: Mike Barrett, Jibi Scaria
Flash Lead: Andy Dremeaux
Front End Architect: Andrew Babaian
Front End Developer: Kris Meister
Project Manager: Justin Wallace
Creative
Sr. Art Director: Sam Luchini
Sr. Copy Writer: Roger Baran
Producer: Kim Cortese
Designer: Derek Harms
(San Rafael, California--November 11, 2011)
Who: Students around the world attending an accredited school are encouraged to submit a maximum of two minutes of a media project — visual effects sequences, short films and more — created Jan. 1, 2011, through Nov. 30, 2011.
What: The Visual Effects Society (VES) is now accepting submissions for the annual Student Award, exclusively sponsored by Autodesk, Inc., which honors outstanding achievement in visual effects in a project created by a student or group of students. Autodesk will present the award to the winner at the 10th Annual VES Awards Ceremony at the Beverly Hills Hotel in Beverly Hills, CA, on Feb. 7, 2012.
The winning student will be provided with free airfare to Los Angeles to attend the awards ceremony and meet the creative minds behind exceptional visual effects in film, television, animation, commercials and video games. While visiting Los Angeles, the student will also be given the opportunity to tour a local visual effects facility. A commercial license of Autodesk Maya Entertainment Creation Suite Premium 2012 or Autodesk 3ds Max Entertainment Creation Suite Premium 2012 will be provided to the winner as well.
When: The deadline for submissions is Nov. 30, 2011 – 5:00pm PST, and nominations will be announced by the Visual Effects Society on Jan. 9, 2012. From Jan. 20-31, 2012, VES members will vote on the nominated submissions, and the winner(s) will be announced formally on Feb. 7, 2012, at the VES Awards Ceremony.
Where: To enter a submission or learn more about the submission process, visit: http://www.visualeffectssociety.com/ves-awards/forms-instructions and select: 10th Annual VES Awards Student Awards Rules and Procedures - PDF.
About Autodesk
Autodesk, Inc., is a leader in 3D design, engineering and entertainment software. Customers across the manufacturing, architecture, building, construction, and media and entertainment industries – including the last 16 Academy Award winners for Best Visual Effects – use Autodesk software to design, visualize and simulate their ideas. Since its introduction of AutoCAD software in 1982, Autodesk continues to develop the broadest portfolio of state-of-the-art software for global markets. For additional information about Autodesk, visit http://www.autodesk.com.
Only few car-brands deliver what their claims promise. Audi's perfect technology convinces by an uncompromising art of engineering and incessant innovation drive. Nothing more and nothing less we aimed to illustrate, pure and straight, while creating the design concept, directing and post-producing this internet image film.
Credit List:
Client: Audi AG, Ingolstadt/Germany
Brand Marketing Manager: Florian Graf, Danijela Vasic
Agency: Neue Digitale/ Razorfish GmbH, Berlin/Germany
Creative Direction: Fabian Roser
Art Direction: Claudia Trippel
Copy Writer: Viktor Wahl
Agency Producer: Bernd Bluhme
Consultant: Caren Erhardt
Production: Tony Petersen Film GmbH, Berlin/Germany
Exec. Producer: Fabian Barz
Producer: Munir Abbar
Production Designer: Sven Gesner
Art Director: Sven Gesner, Alex Schammier, Christian Pralle
Co-Production: Sehsucht GmbH, Hamburg/Germany
Director: Ole Peters
DOP: Michael Mieke
Head of Art Department: Stephan Wever
Designer: Adrian Lawrence, Toros Köse, Niklas Ohlsson, Julius Brockelmann
3D Artists: Joern Engelke, Timo von Wittken, Alexander Siquans
Lead Compositing: Tom Tiller
2D Artists/Compositing: Beatrice Wellenbrock, Thomas Schindler, Mitra Navabpour, Sebastian Spitze
Storyboard Artist: Raymond Boy
Colorist: Andreas Piecha
Producer: Andreas Coutsoumbelis, Selina Schmitt
Editor: Christoph Senn
Music DC: Supreme Music GmbH, Hamburg/Germany
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