|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

Harry Potter Goes Naturalistic: Part 1

Harry Potter and the Half-Blood Prince looks a lot more photoreal, and Bill Desowitz finds out how and why from Tim Burke, Double Negative, ...


Harry Potter and the Half-Blood Prince looks a lot more photoreal, and Bill Desowitz finds out how and why from Tim Burke, Double Negative, MPC and Rising Sun Pictures.


View clips a trailers of Harry Potter and the Half-Blood Prince at "Harry Potter Haven" on AWNtv!

Like most franchises these days, Harry Potter has become more and more naturalistic in its vfx. That was the mandate of director David Yates, who returns for his second outing with The Half-Blood Prince. There's no denying the influence of Chris Nolan's grittier take on Batman. As Harry (Daniel Radcliffe) rapidly matures into manhood under Professor Dumbledore's (Michael Gambon) wise tutelage, and the Death Eaters wreak havoc on both the Muggle and Wizard worlds, there is a wonderful sense of foreboding that permeates the movie. After all, this is the transitional story as Harry and his pals prepare for their final confrontation with the Dark Lord in The Deathly Hallows, which has been split into two movies for 2010 and 2011.

And it's paid off for Warner Bros. at the box office, where Half-Blood Prince has broken the record for the biggest five-day gross in history, making $158 million.

Overseeing the vfx once again is Tim Burke, who relied on Double Negative, MPC, ILM, Rising Sun and Cinesite to provide most of the work, which has gotten a lot more sophisticated and complex in keeping with the escalating jeopardy.

"David treats Half-Blood Prince very much as a drama piece," Burke explains. "The way we worked the team was not to get bogged down in visual effects set pieces. And a lot of the work throughout the film is invisible: a lot of environments and set extensions and all of the bluescreen work that we hope people won’t spot that add to the storytelling. As much as possible, we allowed him to shoot things freely and pretty much work with the actors and worked around him. There are only a couple of really big set pieces. A couple of visual effects-led title sequences with CG environments and we relied on previs. But we let the drama unfold."

And the franchise has taken particular advantage of the latest advancements in HDRI, facial capture and fire and water simulation. "It's been interesting seeing the companies improve that have worked from the very beginning," Burke continues. "I think the environments are an important thing that we're doing more and more of, and, as the tools they develop get more sophisticated and photorealistic, that's pretty much the key. We feel confident that we can shoot on partial sets or complete greenscreen stages, knowing that we can make a photorealistic environment for the actors to be in later on. On these films, like a lot of franchises, there's a lot less traveling to locations now and more work being done back here at the studio. I think we had something like 15 sets built on the backlot at some time or another, of which have partial or total bluescreens.

Yates wanted special attention paid to the crossover from the Wizard world to the Muggle world to emphasize the death and destruction at stake, with Double Negative rebuilding a large portion of London's West End in CG. As an added bonus, the opening and closing will appear in IMAX 3-D beginning July 29.





Double Negative also animated the destruction of the Millennium Bridge using dnDynamite and dnOcean with a little Houdini on top of the CG water.







For complicated cloudshapes, Double Negative tweaked its proprietary volumetric rendering toolset, DNB, which is a combination of Maya fluids and DN Squirt.



"David wanted to open the film with a huge, blockbuster sequence and really kick start the film," Burke adds. "In the original book, there was the idea of the wizards attacking and invading the Muggle world, and he wanted to illustrate that quite efficiently, almost as an act of vandalism. So we came up with the idea of The Dark Mark appearing above the city of London. From there, Death Eaters race down, fly over Trafalgar Square, then try to cross over to the entrance of The Squeaky Cauldron, where we know that Diagon Alley is secretly hidden, and that is where you enter the Wizarding world. And once there, they attack Ollivander's Wand Shop and kidnap him. So the whole thing was conceptualized as one continuous move. David wanted it to be a real roller coaster, breakneck race down through the streets. And the only way we could do that was completely digital and we turned to Paul and his team because of the recent tools they developed on The Dark Knight. Obviously we were able to photograph all of these locations so that we could recreate them as accurately as possible."

"Because we were in a true 3-D environment, we could create the correct stereo separation," suggests Paul Franklin, Double Negative's visual effects supervisor. "This was certainly my first go at doing true stereo 3-D. I really think it's going to be a significant force in the future of cinema."

For Half-Blood Prince, the 3-D focused on the titles and the opening. "We travel through this very dimly lit cloudscape and we created that with our proprietary volumetric rendering toolset, DNB, which is a combination of Maya fluids and DN Squirt, which is our in-house fluid toolset, which we actually used to form the shape of the clouds and then rendered them with DNB," Franklin explains. "And there were some other tricks to give us a sense of lighting within the clouds, first revealing the Warner Bros. logo and then the Harry Potter logo coming through. It's a very architectural set up and then as you begin to push through this, the lightning flashes are timed with the soundtrack, which sounds like a distant war, which relates to an underlying theme of all-out war. Eventually this pulls us through to modern-day London, which we actually shot on location at the building of the Great London Assembly. It's a very ultra-modernist building very much at odds with the Wizarding world of Harry Potter, which always has that wistful, Dickensian look to it. David Yates has liked using modernist architecture for depicting the Muggle world. An atrium of clouds builds up with a very strong architectural sense. The huge Dark Mark falls over London. That was a real achievement using DN Squirt. We wrote a few new tricks and tools for it that allowed us to work with the underlying geometry of the Dark Mark, particularly a huge scull with giant fangs, and basically fill it with clouds. But then as we're animating it, we're getting all of the edges tearing away and bleeding away. It's a balance between natural cloud forms and the stylistic shape of this skull. We wanted it to look unnatural."

For this entirely CG sequence, Double Negative spent a lot of time taking aerial stills of downtown London. "We worked with a lot of satellite photography that we got off the internet," Franklin offers. "We got a hold of street plans. And we created a very detailed 3D model of this section of London and then populated it with CG people and vehicles. We developed a new system using Houdini to procedurally model all of the trees. From my point of view, the route that the camera flies in is pretty much the same one that I walk from Charing Cross Station into Double Negative every morning. One of the things about Diagon Alley is that everything had to be carefully hand-made. We took the components of the set usually to extend it based on our imaginations.

"After the Death Eaters grab Ollivander, we cut to the Millennium Bridge. This is a fantastic horizontal suspension bridge outside of the Tate Modern Gallery on the banks of the Thames. We're back in the modern world of steel and glass. The ominous sky is a matte painting derived from a plate that was shot off the roof of Double Negative, with lightning flashes added to it. The three plumes of the Death Eaters descend on the Millennium Bridge and twist around it flying back and forth. They vanish but they cause the bridge to turn and twist and ripple. We switch to a fully CG bridge and replace the river with a CG river using the dnOcean toolset so that we can create waves and swirling tracks left by the Death Eaters. We shot some close-ups of people on greenscreen. We then created the London environment as a 3D reprojected painting behind that. The bridge begins to break up and we treated it effectively like a character animation and rigged it using our character toolset because the deformations were so extreme. But then the character animation of the bridge drives a secondary dynamic system, which is built using our dnDynamite toolset, and this causes things like the decking planks to pop away and eventually as it really breaks up, we see the suspension cables snaking and whipping away, also using dnDynamite. Eventually, the bridge snaps in two and they originally had animations of people falling into the river but that was deemed to be [too intense]. We were able to animate proper water surfaces using Squirt and some enhancements to Houdini on the top of it."



Director Yates requested a much simpler Pensieve design so that it becomes much more of a surprise as you get into the memory.

According to Franklin, the idea for this sequence came as a result of Yates having a dream of the Millennium Bridge collapsing. It departs from the book by literally attacking the Muggle world and puts Harry Potter into the real world.

Double Negative worked on two other major sequences: the attack on the Burrow, which is also new to the film, and the Pensieve or Memory Bucket. "The Death Eaters attack the Weasley house in a new scene where we did quite a bit of fluid dynamics to create a wall of fire," Franklin continues. "Now it takes place in open marshland as opposed to the wooded area depicted in earlier films. My intention was to make it look like a localized firestorm appearing around the house. There's a fire snake again and we relied on a character animation approach while tweaking the Squirt toolset to get the appropriate movement.

Of course, the Ponsieve is the vessel through which memories are reviewed. "Yates required a much simpler design [this time] so that it becomes much more of a surprise as you get into it," Franklin suggests. "We made a very shallow, parabolic dish, which floats suspended in the air. This is activated by a vile of memory fluid. As the memory fluid is poured into the dish, it becomes a swirling cloud shape with strands of falling ink. It's almost like words on a printed page coalescing out of the ink. It was done in Squirt. We also used live-action elements by dropping ink into an aquarium."

Meanwhile, MPC specialized in both the Quidditch trials and the match. This is definitely something that has improved throughout the franchise. "I think Quidditch is a way of monitoring the change in computer graphics on Potter through the years," Burke says. "Perhaps it didn't look great in the early years and now we're getting a slightly more photorealistic look to the game play and the movement and digital doubles and environments. And we made a big effort on this one. David likened them to rugby matches in school on a wet, autumn day, in the mud -- that real, soaking wet, sodden environment. The first thing we thought we'd do is pay closer attention to the environment, including the stadium itself because I don't think enough attention has been paid to that previously. People have tried to get some exciting game play but not really help themselves to the way the environment affects the speed and the action of the camera movements. So we redesigned the environment and the stadium a little bit. We added more towers to give more of a backdrop to fly against and we created a much closer environment by introducing new mountains and a huge waterfall around the arena, so the stadium sat more in the middle of the bowl. This way by putting players against mountains or the stadium rather than the sky, they created a greater sense of speed. And MPC used a texture library of shots made in Scotland mapped them all together at a very high resolution to give us a complete and unrestricted world for flying. The trials were wet, misty, overcast day, and the match is played in snow for a different feel."

According to Nicolas Aithadi, MPC's visual effects supervisor, they reviewed aerial shows and motorbike races and tried to understand how to make Quidditch look more real. "One thing we found out was the advantage of using different lenses," Aithadi explains. "We used long lenses to flatten everything and have the camera catch up with the action. The other thing was to make it more exciting, there had to be more CG involved, so we had to find a way of handling all of those close-ups. What we did was we tried what we called videogrammetry, where we photographed the actor on a chair with four cameras. We had 68 tracking markers on the face and the riggers animated the CG face at the same time we were capturing the textures. The markers were small but we were able to get very good deformations in the face and textures. We used a very flat lighting environment when shooting to make sure we could use normal textures. This gave us something very real because the texture wasn't painted. It was straight from the film. We created blends to blend the four cameras and flattened them in UV space to get UV textures that were then sent to a shader. The CG work was so good, in fact, that it didn't require live -action takeovers.





MPC did a lot more intensive environmental work for both the Quidditch trials (here) and the snowy match.

Full CG clothes so close to the camera required a lot more resolution. For some shots they had live-action actors without capes so they extended the capes later in CG. Between the trials and the match they had three different types of material to deal with.

"Trying to simulate the cloth on fast moving characters wasn't really realistic," Aithadi adds, "so we decided to remove the translation on the Quidditch players and simulate the cloth at the origin; then we were using winds in Maya to simulate the translation."

Environments, of course, were full CG. MPC created panoramas from the production stills and created a 3D geometry using the trees in the photographs to determine scale of the mountains around the stadium. It had to be 3D in order to get proper parallax and proper depth. Hazing and clouds were added later by the compositing team. For the match, the original environment used in the tryout sequence was snowed up and MPC used particle systems to create the falling snow.

Rising Sun had its biggest contribution yet to Harry Potter, delivering nearly 300 shots. The most important work was the introduction of Professor Slughorn (Jim Broadbent) and the transformation of his chair (into his human form) and room. "There are a lot of props, including a grand piano and a chandelier and grandfather clock," offers Gregory Yepes, Rising Sun's visual effects supervisor. "It's all broken apart when Harry and Dumbledore enter the room because Slughorn is hiding from the Death Eaters. Dumbledore realizes it's a spell and counters the spell to straighten everything out. Our people did some really clever things for this sequence. For instance, there's a picture frame on the wall and it tilts to straighten itself out. That's the only moving practical thing on the set."

Everything else moving in the sequence is CG. Rising Sun used Maya for animation and Houdini for vfx and composited in Shake (they have since started using Nuke).





Rising Sun Pictures got to play with the Slughorn transformation scene, which involved a lot of clever fun with CG props.

"Tim and David Yates gave us the rough boundaries for the sequence and we just played around with it," adds Yepes. "It was such an overwhelming amount of objects, but we got great reference from Tim and his team of digital pictures and a catalog of every object in the room. For some of the bigger pieces, we got them cyber scanned. We also had a lighter on set to make the tracking and camera matchmove done. We modeled low-res versions of every prop in the room so that when we started doing animation layout, we picked from a catalogue and per a designated camera move. That was carefully driven by Tim and David. The whole point was to avoid spending a lot of weeks working on models and textures. There were a lot of layers, especially debris."

Bill Desowitz is senior editor of AWN and VFXWorld.



Source

vfxworld.com

COMMENTS

cgsale_banner

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,1,21st Century Fox,1,2D,2,2D animation,20,2D Artworks,8,2VR,1,32TEN Studios,2,343 Industries,1,343 Studios,1,360 Video,7,3d,92,3D Coat,5,3d model,28,3d models,184,3d Monitor,2,3d Print,3,3D printing,5,3d Product,30,3D Scanner,2,3D scans,11,3d-coat,4,3Dconnexion,1,3December,3,3Decemeber,1,3Delight,1,3DF Zephyr,2,3ds,4,3ds Max,61,3ds 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,1,3ds Max Indie,1,3dscanstore,1,3dsmax,736,3DTi,1,3DTV,7,3Lateral,1,4K,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,ACCESS:VFX,1,ACM SIGGRAPH,50,Act-3D,1,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,164,Adobe Animate,1,Adobe Audition,2,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 Premiere Pro,2,Adobe Reader,1,Adobe Scout,1,Adobe Sensei,1,Adobe Sensei AI,1,Adobe Stock,3,Adobe Summit Europe,1,advert,3,advertisement,9,advertising,26,Aetuts,1,Affinity Photo,3,After Effect,243,after effects,21,After Effects CC,7,After Effects Preset,1,Agisoft,1,AI,2,AIA Atlanta 2015,1,AIA National Convention,1,AICP,1,AIREAL,1,Aixsponza,1,Alembic,2,Alessandra Kila,1,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,Alita: Battle Angel,3,Allan McKay,11,Allegorithmic,37,Alt.vfx,1,Altus Studio,1,amazing,1,amazon,5,Amazon Lumberyard,6,AMD,18,Analog,2,Anatomy,1,ANDesign,1,Andre Cantarel,1,Andree Wallin,1,Andreea Scubli,1,Andrew Kim,1,Andrew Morev,1,Android,2,Android Jones,1,Andy van Straten,1,Angel Stone,1,Anima,4,Animal Logics,1,Animation,506,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,19,application,38,Applied Houdini,1,AQUAMAN,1,AR,3,Archexteriors,3,Archinteriors,6,Archinteriors for UE,1,Architecture design,5,Archmodels for Unreal Engine,2,archvis,4,archviz,9,Arion,2,ARM,1,ARM Holdings,1,Arnold,40,Arnold Render,4,ARPG,1,Arran Baker,1,ARS,1,Ars Thanea,4,Arseniy Korablev,3,Art,12,art brain storming,1,Art by Rens,1,Art works,29,Artec,1,Artis Profile,1,Artist,436,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,Assets,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,411,Autodesk CAVE,2,Autodesk Composite,3,Autodesk Flame,22,Autodesk Flare,6,Autodesk FormIt,1,Autodesk Gameware,1,Autodesk Homestyler,1,Autodesk Kynapse,1,Autodesk Lustre,2,Autodesk Masters,2,Autodesk Maya,351,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,31,Automotive Design,5,Automotive in Unreal Engine,1,avatar,15,Avengers - Age of Ultron,1,Avengers: Age of Ultron,5,Avengers: End Game,2,Avengers: Endgame,2,Avengers: Infinity War,1,Avid Media Composer,1,Award,63,Axis,4,AXYZ,10,Azimoot Competition,1,Baby Cow Animation,1,Backburner,1,BAFTA Awards,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,5,BLACK FRIDAY 2017,1,Black Ink,2,Black Panther,1,Black Studio,1,blackhole,1,blacklist,1,Blackmagic Design,25,blacknail pictures,1,Blank Repository,1,Bleank,1,Blender,128,Blender Conference,1,Blender Development Fund,1,Blender Foundation,1,Blender Tutorials,2,Blizzard,2,Blizzard Entertainment,12,BlizzCon,1,Bluebolt,1,Blur studio,25,BMW,6,Boaz Livny,1,BodyPaint 3D,8,Boketto,1,bonesPro,2,bonzai3d,1,book,41,Boris Continuum Complete,1,Boris FX,14,BOT animation,1,Bottleship,1,boujou,1,Boxx,13,Bpositive,1,Bradford Animation Festival,1,Brandon Funk,1,Brandon Young,1,breast cancer,1,Breath,1,Brian Horgan,1,Brice Chevillard,1,British Academy of Film and Television Arts,1,british tanks,1,Broadcast,1,Bruch,1,Brunch Studio,2,Brushes,16,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,CD Projekt,1,cebas,45,cel animation,1,CES,4,CES 2012,2,CES 2014,2,CES 2016,1,CES 2019,1,cg animation,12,CG architecture,330,CG CON,4,CG Event,478,CG Press,3,CG Record,6,CG Record Interview,26,CG River,1,CG Service,1,CG Student Awards,2,cg trailer,6,CG2 Code for Art Conference 2016,1,CGARCHITECT,1,CGAxis,55,CGC 2019,1,CGI,41,CGRecord Editor picks,1,CGRMF,2,CGSociety,1,cgtalk,22,CGTarian,1,CGTrader,1,CGW,1,CGworkshop,4,chainsaw,1,Challenge,62,Changsoo Eun,1,Chaos,1,Chaos Cloud,2,Chaos Editor's Choice,1,Chaos Group,24,Chaosgroup,126,Character,181,Character Animator CC,1,character design,11,Cheetah3D,2,Chip Weatherman,1,Chris Bjerre,1,Christiant Dalberto,1,Christina Batchelor,1,Christoph Schindelar,4,Chromecast Ultra,1,ChronoSculpt,1,cine,1,Cinebench,1,cinema 4d,273,Cinema 4D R17,1,Cinema 4D R19,1,CINEMA 4D Tutorials,5,cinematic,15,Cinesite,3,cineSync,2,Cineversity,3,CINEWARE,2,Cintiq Companion,1,Circuit.io,1,Ciro Sannino,1,CIterion,1,CityEngine,17,CityEngine 2014,1,CL3VER,2,Clarisse iFX,18,Clay Liford,1,Clinton Crumpler,1,CLO,2,CLO Virtual Fashion,9,Cloth Simulation,16,Cloud Computing,10,Cloud Rendering,2,cloud rendering service,1,Clovis Gay,1,Cmivfx,15,coca cola,1,COD 9,1,Cold,1,Colimo,1,Colin Thomas,2,colonial marines,1,Color grading,1,colorsponge,1,COLORWAY,5,Columbia Pictures,1,Comcast,1,comic,10,Comic Con,1,commercial,250,Company,60,Composite,8,compositing,137,Computer,1,Concept,29,Concept art,172,Concept Art Awards,1,Conference,12,Content-Aware Fill,1,Contest,167,Cool Keith,1,Corel,8,Cornelius Dämmrich,4,Corning,1,Corona,36,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,18,Creature design,5,Cristiano Rinaldi,1,Crowd Simulation,6,CryENGINE,5,CryENGINE 3,1,CryEngine3,1,crysis 3,1,crytek,2,CS4,4,cs5,23,CS6,11,Cube Creative,1,Cuda,25,Curved Monitor,2,Custom Lens Flare VFX,1,Cut out,1,Cutting Edge,1,CVMP,1,Cyber Monday,3,Cyberpunk 2077,1,cybertron,2,D-Plug,1,D2 Conference,1,Dabarti,1,Daft Punk,1,Damien Guimoneau,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,Darren Hendler,1,Darstellungsart,1,Daryl Obert,1,david beckham,1,David Cunningham,1,David Karlak,1,David Luong,1,David Orr,1,David Santiago,1,David Tsibikoff,1,davide di saro,1,DaVinci Resolve,8,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,Death & Robots,1,debut trailer,3,deep compositing,1,Deep Learning,1,Deep Learning AI,1,Deep Shapes,1,defiance,1,Dell,7,DEM Earth,1,Demo,1,Demo reel,94,Demolition Master,1,Denoise,2,Denoiser,1,Design,166,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,DigiDoug,1,Digital Dimension,2,Digital District,3,Digital Domain,38,Digital Film Tools,1,Digital Human Group,2,Digital Storm,1,Digital-Tutors,27,Dimensiva,1,DirectX 11,1,DirectX Raytracing,1,Disney,37,Disney Hyperion,2,Disney Research,2,Display,2,DIY,1,dj hero,1,DLC,1,DMAX Imaging,1,dmc,1,DNEG,1,Dolby Digital,1,Dolby Surround,1,Dominic Qwek,1,Doreen Lorenzo,1,Double Negative,11,Double Negative Singapore,2,Double Negative Vancouver,1,Download,569,DP Matt Workman,1,DreamWorks,6,DreamWorks Animation,13,driver,2,Drone,4,Dusan Kovic,1,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,E3 2019,1,EA,24,EA Sport,4,Earthling,1,eat3d,15,EB Hu,1,Echolab,1,Eddie Perlberg,1,Eddy,3,Edge of Tomorrow,3,Editor's Picks,4,Education,2,Edvige Faini,1,Eevee,3,egypt,1,Eidos,1,Eidos Montreal,2,eight vfx,5,Ekaterina Pushkarova,1,Elastic,1,Element 3D,5,EliteDisplay S270c,1,Eloi Andaluz Fullà,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,82,epic,1,Epic Games,30,Epic MegaGrants,1,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,7,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,2930,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,576,Films,24,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,4,Flowbox,3,fluid,10,Fluid FX,5,fluidata,1,fly through,1,Flying Architecture,1,FMX,7,FMX 2010,1,FMX 2011,2,FMX 2012,1,FMX 2013,1,FMX 2014,4,FMX 2015,2,FMX 2016,5,FMX 2019,1,fooball,2,Food,2,footage,21,Forest Pack,6,Forest Pro,2,forza,1,Forza Motorsport,1,Forza Motorsport 6,1,Foundry,156,fox,2,Fox RenderFarm,1,FPS,1,Fracture FX,1,Framestore,17,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,5,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,Gaea,1,Gaffer,1,Galal Mohey,1,gallery,848,game,40,Game Assets,1,game concept,6,game development team,3,Game engine,28,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,482,games trailer,18,Gametutor,1,GauGAN,1,GDC,12,GDC 2015,4,GDC 2016,2,GDC 2018,2,GDC 2019,4,GEAR VR 360 Degree,3,Geforce,8,GeForce GTX,1,Gelmi Studio,1,GenArts,1,GENOME,3,Gentleman Scholar,2,Geomerics,1,George Lucas,1,George Orwell,1,Ghost Games,1,Ghost Recon,2,Gia Nguyen,1,GIANTSTEP,1,gimpVille,1,Glu3d,1,GNOMON,146,Gobelins,4,goblins,1,God among Us,1,Godzilla,4,Golaem Crowd,11,Golden Globes,1,Goodbye Kansas Studios,1,Google,29,Google Cardboard Plastic,1,Google Cloud Platform,2,Google Daydream,1,Google Earth Pro,1,Google Earth Studio,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,GPUs,1,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,3,GroundWiz,1,GrowFX,8,GTA,2,GTC,11,GTC 2013,1,GTC 2014,2,GTC 2016,1,GTC 2019,2,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,Han Yang,1,Hang Li,2,Hao Li,2,Hard Surface,2,Hardware,302,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,Hellboy,1,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,169,Houdini 13,9,Houdini 14,4,Houdini 15,3,Houdini 16,4,Houdini 17,3,Houdini 18,3,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,IDV,1,Igor Zanic,2,iGroom,1,IKinema,1,illusion,1,illustration,10,Illustrator,7,ILM,62,Iloura,2,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,18,interactive,1,Internet TV,1,interview,158,Into the Spider-Verse,1,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,11,istanbul,1,IT'S ART,1,Itoo Software,11,Ivaylo Petrov,1,Ixor,1,james cameron,4,James Jacobs,1,Jeff Patton,15,Jeff Simpson,1,Jen-Hsun Huang,1,Jerad Marantz,1,Jeremy Clapin,1,Jesus2000,1,Job,1,Jocelyn Strob Simard,1,Jody Madden,1,Johan Rimer,1,John J. Park,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,14,Ken Barthelmey,1,Kev Jenkins,1,Kevin Feige,1,Keying,1,KeyMission,1,KeyShot,39,KeyShot 5,2,KeyShot 5.1,1,KeyShot 6,4,KeyShot Viewer,1,KeyVR,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,Leskea Team,1,letter,1,Leviathan,1,LG,12,LG Film Fest,1,LIGA 01,2,LIGA_01,1,LightBox Expo,1,Lighting,7,Lightmap,4,Lightroom,16,Lightstorm Entertainment,3,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 development,1,Look Effects,1,Lookdev,1,Lord of the rings,1,lords,1,Lostboys Studio,1,LOTR,1,Love,1,Luan Nguyen,1,Lucasfilm,5,lucky,1,LUCY,1,Łukasz Sztukowski,1,Luke Millar,1,Luma Pictures,8,Lumberyard,6,LumenRT,7,Lumion,10,Lumion 5.7,1,Lux Machina,1,Luxigon,2,Luxion,14,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,Magnopus,1,Mahmoud Salah,1,Mai Nguyen,1,Main Title Sequence,3,MakeHuman,2,Making of,310,Management,4,manhattan,1,Mantra,5,Manuka renderer,1,ManvsMachine,2,marc craste,1,Marcello Pattarin,1,Marcelo M. Prado,1,Marco Di Lucca,1,Marcos Sampaio,1,Marek Denko,3,Mari,80,MARI indie,1,mario ucci,1,Market,1,market farmhouse,1,Marmoset,3,Marmoset toolbag,12,Marvel,23,Marvel Studios,6,Marvel’s Avengers: Infinity War,1,Marvelous Designer,45,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,44,Material-Z,1,Mathieu Aerni,1,Mathieu Auvray,1,Matt Aitken,1,Matt Battaglia,1,Matt Frodsham,1,matte painting,27,Matthew Bannister,1,Mauricio Ruiz,1,MAX,2,MAX 2014,3,Max Payne,2,Max Underground,2,Maxim Zhestkov,1,maxon,82,Maxpayne3,1,MaxScript,3,Maxtree,2,Maxwell,32,Maxwell Render,4,Maya,19,Maya 2016,3,Maya Indie,1,Maya LT,9,Maya LT 2016,1,Maya LT 2017,1,Maya Tutorial,12,mayan,1,mbFeatherTools,1,MCG,1,MDL,1,Mech,1,medal of honor,1,media,1,Media Design School,1,Media Encoder,1,Medusateam,1,Megascan,2,Megascans,7,Megascans Bridge,2,Megascans Studio,1,Men in Black: International,1,Mental Ray,77,Mercedes,4,MeshFusion,3,Meshmixer,3,messiah:studio,1,Metal gear,1,Metal mill,5,Method Design,1,Method Studios,6,MGODI,1,Miarmy,2,Michael Bay,4,Michal Kriukow,1,michelin,1,Mickael Riciotti,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,3,MMO,6,MOANA,2,Mobile Workstation,3,Mobile World Congress 2016,1,Mocap,6,mocha,29,mocha Plus,1,Mocha Pro,2,Mocha Pro 4,2,Model Free,2,Modeling,135,modo,74,MODO 801,1,MODO 901,2,MODO indie,1,MOH,1,Mohamed Alaa,1,Moi3d,1,Mokacam,1,Monitor,24,monkey island,1,Monsters Dark Continent,1,Montreal Canada,1,moon,1,moon raker,1,Mortal Kombat,3,Mortal Kombat X,3,Mortal Kombat XL,1,MoSketch,1,most anticipated,1,most wanted,1,Motion 5,2,motion capture,15,Motion Design,5,Motion Graphics,180,motion504,1,MotionBuilder,8,MotionBuilder 2014,1,mouse,1,Mouse Guard,1,Movie,1,MPC,73,Mr. X Inc,2,MSI,3,MTV,2,Mudbox,82,Mudbox 2014,3,Mudbox 2015,3,Multiphysics,1,multiplayer,1,Multiscatters,1,Murat Kılıç,1,muscle Simulation,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,NAB 2019,2,NAB2011,2,NAIAD,19,Namco Bandai Games,3,Napalm,1,Napoleon ruler,1,Naren Naidoo,1,nasa,3,Natron,1,NaturalPoint,1,Naughty Dog,9,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,2,NetherRealm Studios,3,Networks,1,new york times,2,new units,1,news,168,NewTek,11,Next Limit,38,Next-Gen Filmmaking,1,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,133,NUKE 9,5,Nuke Studio,7,NUKEX,1,Nvidia,208,Nvidia Faceworks,1,NVIDIA GRID vGPU,1,NVIDIA GRID Virtual GPU,1,Nvidia HairWorks,1,NVIDIA Kepler,4,NVIDIA Maximus,5,NVIDIA RTX,3,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,Omniverse,1,Open Image Denoise,1,open Source,7,OpenCue,1,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,Partnership,1,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,Phillip Miller,1,Phoenix FD,26,Photo Editing,7,Photography,23,Photoshop,221,Photoshop CC,6,Photoshop CS6,3,Photoshop CS6S,1,Photoshop Elements,2,Photoshop Elements 14,1,Physics Animation,1,PhysX,1,piano,1,Picture Front,2,Piotr Adamczyk,1,pipeline,1,PipelineFX,3,Pixar,42,Pixar Animation Studios,6,Pixar Tractor,1,Pixelhunters,1,PIXOLOGIC,60,Pixomondo,9,Planar Systems,1,Planetside,8,plant,1,Plant Factory,3,Platige Image,5,PlayStation,14,PlayStation 3,1,PlayStation 4,10,PlayStation Now,1,Plugin,570,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,309,Product Design,3,Product Focus,2,Profile Studios,1,Project Felix,1,Project Geppetto,3,Project Lavina,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,QuadSpinner,1,quantic dream,1,quba michalski,1,Qube!,3,Quentin Medda,1,Quicktime,1,Quidam,3,Quixel,19,Quixel Bridge,1,racing,1,Rafael Reis,1,RailClone,3,Rainer Duda,1,Ralph Breaks the Internet,1,RandomControl,1,Rango,1,Ray Tracing,2,Rayfire,30,RDT,2,Real Displacement Textures,7,Realflow,54,RealFlow 2013,1,RealFlow 2014,6,RealFlow 2015,3,Realistic Render,16,realtime,182,RealtimeUK,11,REBELWAY,1,Rebus Farm,2,Recom Farmhouse,1,Red Engine,1,Red Giant,24,RedefineFX,1,Redshift,13,reel,170,Reel of the Month,10,reinterpretations,1,Reliance MediaWorks,1,Relic Entertainment,1,Relicts,1,Render,256,Render engine,2,render farm,12,Render Legion,1,Render Rocket,1,Rendering,92,Rendering Management,15,RenderMan,22,RenderPal,1,Resident Evil: Revelations 2,1,retopology,4,Retouching,1,review,22,Revit,4,RevUp Render,1,RFX,1,Rhett Dashwood,1,Rhino 3d,9,Richard Rosenman,1,Richard Spriggs,1,Richard TATESSIAN,1,rick thiele,1,rigging,39,Rise of the Tomb Raider,1,Rising,1,Rising Sun Pictures,8,RizomUV,2,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,6,Romell Chopraa,1,ron Gilbert,1,Ronan Mahon,1,Ronen Bekerman,3,Roper Technologies,1,Rory Björkman,1,Roto,2,RPC,1,RPG,1,RTX,2,Ruairi Robinson,1,Ruben Morales,1,Ruff Mercy,1,Rumblebox Studios,1,russ murphy,1,Russian3DScanner,1,Ryan Kingslien,1,Ryan Lim,1,Ryan Trowbridge,1,sabber interactive,1,saints,1,Sale,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,11,Sci-Fi,11,sci-fi thriller,2,Scott Edelstein,1,Scott Keating,1,Scott Sewel,1,scottish flu,1,Screen,2,Screen Rant,1,script,90,sculpt,47,Seagate,2,Sean Chong,1,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,25,Shaderlight,5,shadow 2,1,Shadow Theatre,1,Shave and a Haircut,2,Shawn Wang,1,Shepherd Mocap Sync,1,shilo,7,Shōgun,2,short film,72,Shotgun,4,Shotgun Software,4,show reel,68,showreel,44,Siarhei Chekolian,1,sidefx,63,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 2019,3,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,Silhouette,1,Silvio Valinhos,1,Simon Gomez,1,Simon Webber,1,Simow Labrim,1,Simulation,52,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,109,Softimage 2013,2,Softimage 2014,3,SoftKinetic,1,Software,1252,solid,1,Solid Angle,2,Sony,36,sony online,1,Sony Pictures Entertainment,2,Sony Pictures Imageworks,12,Sony Pictures Studios,1,Sony Santa Monica,1,Sony Vegas Pro,1,SonyPictures,1,Sound,12,Soundbooth,1,Soyoung Kim,1,SpaceMouse,1,spaceships,2,Spacious Thoughts,1,Spain,1,special effects,2,spectrum,1,SpeedTree,12,SpeedTree Cinema,1,Spider-Man,2,Spider-Man: Far From Home,1,Spider-Man: Into the Spider-Verse,1,spiderman,5,splinter cell,1,sports,2,Spotlight,1325,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,3,State of Art Academy,4,Steam,3,steel battalion,1,Stephen Zavala,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,3,Storyboard Pro 5,1,Storz & Escherich,1,stream,2,Strike Vector EX,1,Stu Bayley,1,student,6,Student Gallery,1,student project,1,studio,380,Studio ADI,1,Studio Aiko,1,studio aka,1,Studio Profile,6,Studio Spotlight,1,Studio Tools Pro,1,Stylized,1,Submit,4,Substance Alchemist,2,Substance Designer,34,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,Synapse,1,SynthEyes,3,Tablet,19,Takafumi Tsuhiya,1,takcom,1,Tamas Medve,2,Taylor Kitsch,1,Tearte,1,teaser,2,Tech,27,Tech news,93,Technical,18,Technicolor,1,Tekken 7,1,Ten24,1,tera,1,Terminator Genisys,3,Terragen,14,Terrain,2,Territory,3,Terry White,1,Tetsuya Nomura,1,texture,109,texture painting,2,Textures,36,texturing,34,TexturingXYZ,5,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,4,The Foundry's Board,1,The Good Dinosaur,1,The Jungle Book,3,The Leviathan,1,the lighthouse keeper,1,The Martian,3,The Meg,1,the mill,36,The Mission Studio,1,the raven,1,The Rookies,4,the secret world,1,The Third Floor,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,2,Tomek Bagiński,1,Tomorrowland,1,Tony Andreas Rudolph,1,Tony Zagoraios,1,Toon Boom,4,top 10,1,Topogun,1,Toshiba,1,Total Chaos,3,Touchscreen,2,Toughpad,1,Toxik,2,Toyota,2,Tracking,49,Tractor,1,tragedy,1,Trailer,275,Training,305,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,19,UDK,1,UE4Arch,2,Ultimatte,1,Ultra HD,1,UltraWide,2,Un tour de Manège,1,Uncharted 3,1,Uncharted 4,4,Uncharted 4: A Thief's End,1,Uncharted Territory,1,Uniform,4,UNIGINE,2,Unique Vision Studio,1,Unit Image,9,united snakes,1,United States,1,united visual artists,1,Unity,26,Universal Pictures,2,Universal Scene Description,2,Unreal,38,Unreal 4.6,1,Unreal Assets,6,Unreal Awards,1,Unreal Engine,92,unreal engine 4,17,Unreal for Archviz,2,Unreal Studio,4,unwrap,6,urban,1,URSA Mini 4.6K,1,USC School of Cinematic Arts,1,USD,1,USD Hydra technology,1,Uvmap,9,V-Ray,7,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 Maya,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,1098,VFX Artist,2,VFX Breakdown,141,VGA,1,VGX,1,via grafik,1,VICODynamics,1,Vicon,6,Victoria Alonso,1,video,20,Video Copilot,38,Video Editing,19,videogame,4,VIEW 2019,1,VIEW Awards,1,VIEW Conference,14,Viki Yeo,1,Virtual Designer RE,1,Virtual Reality,16,Virtual Reality Game,2,Virtual Workstation,1,VIShopper,2,visual effects,20,visual exploration,2,VisualAct,1,visualhouse,1,visualization,18,Vitaly Bulgarov,11,Vixen studios,1,Viz Artist,1,Viz-People,1,Vizrt,1,Vladimir Koylazov,1,Vladimir Minguillo,1,Vladislav Solovjov,1,Vlado,2,Volkan Kaçar,1,Volume Breaker,1,VR,57,VR camera,2,VR headset,4,VR rendering,3,Vray,481,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,5,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,Wes Ball,1,Weta Digital,14,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,Worldwide FX,1,WOT,1,Wrap,1,WWF,2,X-MEN – DARK PHOENIX,1,X-Particles,3,XboX,8,Xbox 360,35,Xbox One,19,Xfrog,5,xGen,3,XMesh MX,4,xNormal,1,Xoio,6,Xsens,2,XYZTexturing,3,Yauhen Liashchynski,1,Yellow Cake,1,Yeti,2,Yibing Jiang,3,Yiihuu,1,Yonder,1,Youtube,1,Yuneec,1,Yuuki Morita,1,Zap Andersson,1,ZBook,1,ZBrsuh,6,zbrush,291,ZBrush 2019,2,ZBrush 4R7,7,ZBrush 4R8,2,ZBrush Core,1,ZBrush Summit,2,Zhee-Shee Production,1,Ziva Dynamics,2,Ziva VFX,2,Zoic Studios,3,zombi U,2,zombie,2,Zombie Studio,1,Zootopia,2,Zuliban,3,Zync,1,
ltr
item
Computer Graphics Daily News: Harry Potter Goes Naturalistic: Part 1
Harry Potter Goes Naturalistic: Part 1
http://img269.imageshack.us/img269/2893/hp6part101alleyattack09.jpg
Computer Graphics Daily News
https://www.cgrecord.net/2009/07/harry-potter-goes-naturalistic-part-1.html
https://www.cgrecord.net/
https://www.cgrecord.net/
https://www.cgrecord.net/2009/07/harry-potter-goes-naturalistic-part-1.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 to a social network STEP 2: Click the link on your social network 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