Golaem 9 Improves Hero Character Quality, Control and Animation
Golaem 9 includes a new animation engine, helps create new shots without simulations, and has better crowd control, helping artist improve the quality of their animated hero characters.
Adobe’s Generative Remove feature, based on the Firefly AI model, is now part of Lightroom, and the AI-powered Lens Blur tool has now become generally available with new presets.
V-Ray 6 Benchmark updates Chaos’ software for comparing CPU and GPU render capabilities, with test looping and a new test scene for direct NVIDIA CUDA/RTX GPU mode comparison.
Maxon One 3D software for motion design, broadcast and VFX has undergone an upgrade with new tools including Cinema 4D Particles, NPR rendering in Redshift and Red Giant Geo.
Pitch Black, parent company of VFX studios FuseFX, FOLKS, Rising Sun Pictures and El Ranchito, has announced the appointment of Mikaël Damant-Sirois as Vice President of Operations.
Autodesk has prioritised connected assets, data and workflows, and efficient new time-saving tools for the 2025 versions of its content creation software.
In Substance 3D’s most recent releases, two new Firefly-supported features have been integrated directly into Adobe Substance 3D design and creative workflows.
JAMM VFX and colour studio in Los Angeles is welcoming Alvin Cruz to serve as creative lead on projects across their client roster. Equipped with a rich background in visual effects.
Chaos announced the company’s first foray into AI tools through three new features, as well as the first look at a new visual storytelling product for 3D assembly and animation.
Foundry Modo 17.0 comes with performance updates to accelerate modelling, rigging, animation and interactivity, and a bundled Prime version of Octane for GPU rendering.
The Mill created an edgy Super Bowl ad titled ‘Mullets’ for Kawasaki’s first Super Bowl entry with a pipeline featuring Autodesk Maya, Houdini Vellum simulations and proprietary fur.
SIGGRAPH Asia 2023 conference and exhibition in Sydney attracted 5,690 attendees from over 40 countries, making a key contribution to the computer graphics industries.
Cinema 4D’s MoGraph tools and Redshift’s RT real-time camera and shading get a performance push. Redshift can also tap into Apple M3 chips’ new hardware-accelerated ray tracing.
AEAF Sets Sights on a Perfect Day of Speakers and Awards
As AEAF approaches on 16 August, NOW is the time to BOOK TICKETS. The Speaker Line-up is in place for a perfect day, and the judges are hard at work on hundreds of beautiful entries. You will be surprised by the breadth and quality of work on show at the Awards, ranging from polished motion graphics to photoreal looks and FX in movies, and now new virtual worlds.
The 360/VR category launched last year has grown to such an extent that we have divided it into two separate categories – 360 VR and VR Experience. See the article in this Newsletter below to find out the details and learn about the entries.
Top Speakers – Don’t Miss Them
The full day of speakers coming to the event is terrific. AEAF is an opportunity to hear and see what is happening in your industry from some of the best artists in the world. Animation Director Rob Coleman from Animal Logic in Sydney, ILM’s Jeff Capogreco from Singapore, Anders Langlands of Weta Digital, Lindsay Adams at Iloura in Melbourne and motion artists from The Sequence Group in Vancouver and Melbourne are some highlights. PLUS MPC, Buck and Rotor Studios are all on the program. Don’t hesitate to BOOK TICKETS NOW or to INQUIRE about attending.
AEAF Awards
As always, the flow of Commercials projects has continued to the very end this year and reveals some highly original work, including creative use of environments, characters and motion design. This includes that specialised commercials category Games Trailers that attracts such huge talent.
The Awards have received a larger number of TV Series than ever. Studio restrictions prevent several of these projects from going online, but you will be able to see breakdowns of the work involved at the screening on Awards Night. The size of the category also prompted a separate category for Children’s TV, announced earlier, reflecting the different focus for production and post.
Most exciting of all is the Feature Film category, now grown to more than 20 entries from around the world. Looking at the breakdowns on 16 August will be a learning experience as well as inspiration for VFX and animation artists everywhere. www.aeaf.tv
AEAF Welcomes ILM’s VFX Supervisor Jeff Capogreco as Speaker
Visual Effects Supervisor Jeff Capogreco is coming to speak at AEAF 2017 from ILM Singapore, where he has been working since 2014 when he joined the company as an Associate VFX Supervisor on ‘Jurassic World’. Most recently, he supported the ILM team in 2016 on ‘The Great Wall’ also as Associate Visual Effects Supervisor and then became VFX Supervisor on ‘Kong: Skull Island’. He is now working on post for ‘Transformers: The Last Knight’, releasing in June 2017.
He has a post graduate diploma in Computer Animation from Sheridan College and a 10-plus year career producing imagery for top feature films. Prior to ILM he worked at WETA Digital as a VFX Sequence Supervisor on such films as the three Hobbit films, ‘Rise of the Planet of the Apes’, ‘The Adventures of Tintin’ and ‘Avatar’. www.ilm.com
The VES held the 14th Annual VES Awards, recognising visual effects artistry and innovation in film, animation, television, commercials, video games and special venues.
Paul Butterworth is one of Australia's most experienced Visual Effects Supervisors, now working at Animal Logic. He will be speaking at AEAF in Sydney in August.