27 blog posts found matching keyword search for: rendering in Santa Clara
Premiere has a lot of quirks and ambiguities that could waste a lot of your time if you don’t know about them. Here are just a few…
by Nina StreichModerator: Mike Green, Senior Director, Strategy & Development, ComcastPanelists: Eric Hybertson, Director, Rendering Devices, Time Warner Cable Glen Stone, Convergence Strategy and Standards, Samsung Electronics America Michael Bishara, VP/GM TVE, Synacor Damon Phillips, Vice President, WatchESPN & ESPN3
We’re in a time when live actors share the screen with puppets and avatars, shows like The Orville are taking onscreen space travel to a whole new level, and armies of walking dead are taking over the streets of Atlanta. And with real-time rendering behind the scenes, post production crews are doing it all at the fastest pace of all time. It’s an exciting time to be in visual effects. With technology advancing rapidly and many of the previous obstacles falling away, it’s also a highly competitive and challenging time. For more on the subject, we talked to an industry veteran.
Monster 500, the post-apocalyptic mega-race is on, and animation/visual effects studio Clockwork VFX is the creative winner. The studio teamed with agency Rotter Creative Group and Toys "R" Us to launch the new Monster 500 brand. The result is an engaging minute-long spot consisting of beautifully detailed 3D animation. With 13 team members working for five weeks to complete the complex animation sequences, Clockwork’s creative skills, particularly their lighting, texturing and rendering capabilities -- were tested. Learn what equipment was used when creating their winning spot, along with industry trends, a partnership with Xbox and much more from Clockwork’s Creative Director/Co-Founder Jason Tomlins.
In my previous ProductionHUB column, Remote Production: The World is Your Oyster, I discussed the emerging trend of remote production. Increasingly, we’re seeing post-production companies create infrastructure that spans the globe rather than just the length of a building.
The making of a game cinematic is a large undertaking, but the end results are fruitful to creating interest in a video game. Without a cinematic it is very hard to generate the desired customer anticipation for an upcoming release. The art and elements of the cinematic are inspired by the game, but It’s more akin to a promotional short film or commercial, rather than an exact example of the finished product.
Pip’s Island is an immersive theater experience for families that combines animation, live actors, live-size puppetry and interactive sets. During this 60-minute interactive adventure, the lines between physical and digital blur and kids must rely on their own creativity, imagination and ingenuity to make their way through the story.
While computer animation is often a crucial tool for telling a story, filmmaker Denise Ohio used 3D CGI to help her actually understand the historical event that is the subject of her documentary, Verona: The Story of the Everett Massacre (2017, 105 minutes, Virgil Films).
Over the past several years, two major technological developments have occurred in tandem, both of which have made wide-ranging and revolutionary changes in the world of media post-production. One of these developments is the explosion in sophisticated yet affordable software; the other is the exponential growth of cloud computing.
Big projects need big teams, right? Not necessarily. Thanks to today’s technology - paired with the constantly developing talent of today’s artists - the nimble boutique team can take on projects for the world’s biggest brands without fear of falling short.