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Artist Profile: Jerad Marantz | Character Concept Artist

January 6, 2019, 8:36 pm
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Jerad S Marantz has been working in the Film, Game and Television industries for over fifteen years. Marantz started his career at an early age interning for Special FX houses. Trying a little of everything enabled him to narrow his focus to character / creature design. His acquired skills in sculpture, painting, illustration, Zbrush, and Photoshop all aide his unique sense of design. Marantz’ s many Film credits include: Avengers: Infinity War, Justice League, Deadpool 2, Guardians of the Galaxy vol1 and 2, XMEN : Age of Apocalypse, Batman vs. Superman, Rise of the Planet of the Apes, West World, Grimm, American Horror Story, Gears of War 4, Clash of the Titans (Lead Character Designer), Sucker Punch (Lead Character Designer), Transformers: Dark Side of the Moon, Green Lantern, Avatar, Snow white and the Huntsman, GI Joe: Retaliation, The Amazing Spiderman, Riddick 3.

Below are some of the character designs for Anthony Russo and Joe Russo's movie: Marvel’s Avengers: Infinity War.


Want to see more about Marvel’s Avengers: Infinity War? See these VFX Breakdown




Find out more on His website and Instagram
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AQUAMAN Visual Effects | Before & After

January 7, 2019, 1:51 am
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Some Before & After photo of AQUAMAN movie showing how VFX ILM, MPC, Scanline, Iloura ... created Visual Effects for the feature film. Producer Kimberly Nelson LoCascio wrangles two VFX supervisors and multiple VFX houses to help deliver more than 2,300 visual effects shots for director James Wan’s take on the DC Comics super hero.

2,300 visual effects shots made it into the theatrical version handled by two visual effects supervisors. “Kelvin McIlwain [Furious 7] was on the movie for the full time, while Charles Gibson [Babe] was on during the shoot. The studio was incredibly supportive in particular Walter Hamada and Geoff Johns at DC and Anne Kolbe at Warner Bros. We worked closely with ILM, MPC, Scanline, Iloura [now part of Method Studios], Method Vancouver, and Rodeo FX in Montreal. It was a constant collaborative process. James, Kelvin, the editor [Kirk M. Morri], and I would assemble in the screening room and review all of the work. Then we would do a weekly screening with the studio so they would be included and understand exactly what we were doing and where we would be headed.” You can read full details on AWN




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Spider-Man: Into the Spider-Verse Personal & Making of Animation Process

January 9, 2019, 3:12 am
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Spider-Man: Into the Spider-Verse Personal by Character Animator at Axis Animation: Arran Baker with The Making of Animation Process using Autodesk Maya, Arnold Render

Layout and animation was using Maya. The webs were Maya as a template, a rough pass in toon boom and finally painted in Photoshop. The main bulk of rendering was using arnold but some using Maya software. It was all comped in aftereffects and finally painted over the top again in Photoshop
Said Arran


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Gnomon with The Third Floor host the event: Visualization: Past, Present, and Future

January 14, 2019, 6:33 pm
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The Third Floor is The World’s leading previsualization, postvisualization, and virtual reality company based in Los Angeles with a second office in London.

On Thursday, January 24th Gnomon will team up with The Third Floor to host the event: Visualization: Past, Present, and Future. The Event will a look back at The Third Floor's fifteen-year history of visualization and insight into where the industry is headed next. What began as an essential tool for ambitious visual effects-driven content has proved a necessary element of production pipeline for gaming, location-based entertainment, and a wide variety of media.
Join team members from The Third Floor for a glimpse into the world of all things visualization; from pitchvis to postvis, including storyboarding, world building, techvis and more as they touch on some of their most recent film, television, video game, and immersive media projects. Audience members will be welcome to ask questions of their own during the event's Q&A portion, so come prepared with any queries you might have!

Seating is limited, so be sure to RSVP and arrive in good time to secure a place in line. Attendee check-in will open at approximately 6:30 PM; a valid Eventbrite RSVP will be required to get an event wristband. For those unable to attend, this event will be streamed, on GNOMON's Twitch channel!

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Autodesk Maya 2019

January 15, 2019, 8:12 am
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Featuring New Tools and Performance Enhancements for Faster Animation, Improved Working Environments, Higher Quality Previews and Improved Pipeline Integration

San Francisco, CA (January 15, 2019) – Today, Autodesk has launched Maya 2019, the latest version of its popular 3D animation, modeling, simulation and rendering software, featuring significant updates to help artists achieve their creative vision within a faster, more interactive and visually engaging working environment. Maya 2019 addresses the key challenges artists face throughout production, providing faster animation playback to reduce the need for playblasts, higher quality 3D previews with Autodesk Arnold updates in viewport 2.0, improved pipeline integration with more flexible development environment support, and performance improvements that most Maya artists will notice in their daily work.

“The more you can make the technology behave and get out of the artists’ way, the more they can keep their thought process fluid. With Cached Playback, animators can iterate more, and they totally love that.”
– Christopher Moore, Technical Program Manager, Blue Sky Studios

“We’re not looking to make it so our artists get more shots per week off their plate. We're doing this so we can set the bar even higher for the quality of art we can produce.”
– Hank Driskill, CTO, Blue Sky Studios

“The new features in Maya 2019 give artists a more responsive working environment so they feel more creatively engaged and can iterate faster to produce better quality. Cached Playback is going to reduce the need for playblasts by animators, and Arnold updates take the guesswork out of the equation, by making viewport previews closer to the final Arnold render.”
– Chris Vienneau, sr. director, Media & Entertainment Products, Autodesk

Key new Maya 2019 features include:

-- Faster Animation: New cached playback increases animation playback speeds in viewport 2.0, giving animators a more interactive and responsive animating environment to produce better quality animations. It helps reduce the need to produce time-consuming playblasts to evaluate animation work, so animators can work faster.
-- Higher Quality Previews Closer to Final Renders: Arnold upgrades improve real-time previews in viewport 2.0, allowing artists to preview higher quality results that are closer to the final Arnold render for better creativity and less wasted time.
-- Faster Maya: New performance and stability upgrades help improve daily productivity in a range of areas that most artists will notice in their daily work.
-- Refining Animation Data: New filters within the graph editor make it easier to work with motion capture data, including the Butterworth filter and the key reducer to help refine animation curves.
-- Rigging Improvements: New updates help make the work of riggers and character TDs easier, including the ability to hide sets from the outliner to streamline scenes, improvements to the bake deformer tool and new methods for saving deformer weights to more easily script rig creation.
-- Pipeline Integration Improvements: Development environment updates make it easier for pipeline and tool developers to create, customize and integrate into production pipelines.
-- Help for Animators in Training: Sample rigged and animated characters, as well as motion capture samples, make it easier for students to learn and quickly get started animating.

Maya 2019 is available today as a standalone subscription or with a collection of end-to-end creative tools within the Autodesk Media & Entertainment Collection. For more information, visit: https://www.autodesk.com/products/maya/overview
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SpeedTree Cinema 8.2 is now available with photogrammetry tools

January 16, 2019, 6:47 pm
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IDV, Inc has announced that its Award-winning standalone tree, plant and foliage modelling suite of tools Speedtree 8.2 is available now for SpeedTree Cinema and SpeedTree Games full licenses. This version allows artists to create multiple variations of a tree using a single mesh, or blend multiple photogrammetry meshes together, and then deform or add wind to the branch levels

SpeedTree Cinema 8 Features are:

- Full PBR workflow and rendering. Supports non-destructive material editing, allowing artists to adjust textures on the fly.
- A growing library of tree models. ranging from seedlings to towering forest models includes thousands of 3D surface-scanned PBR textures. Each individual model file (.spm) contains multiple polygonal resolutions and adjustable seasonal variations.
- Vastly improved export pipeline. Exports now run much faster and use far less memory. Other improvements include UDIM support, hierarchical exporting, and better bone unwrapping, weighting, and material binding.
- New leaf batching system. Leaf rendering in the SpeedTree Modeler is up to 1,000 times faster than version 7. This innovation greatly speeds the modeling process and supports the creation of more complex models.
- Major leaps in wind realism. Cinema 8 captures the complex dynamics of wind among leaves and branches. The overhauled system features a realistic rolling wind effect, is much easier to tune, and includes a new wind wizard.
- Decoration Generators.
- Mesh cutout system. create leaf meshes with anchor point for three resolutions in one go.


See more document!

Availability

The new annual license will cost $999 per year with a revenue cap of $1 million (new annual Speedtree for Games indie rental license that will include the photogrammetry features plus FBX and OBJ export). Monthly indie rental licenses for those with Revenue under $100,000 cost $19 a month but do not include photogrammetry tools or FBX/OBJ export. Speedtree 8.2 is available now for SpeedTree Cinema and SpeedTree Games full licensees. You can find more plan or get trial here!

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New more Autodesk Maya 2019 Feature Review

January 17, 2019, 8:44 pm
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Autodesk has released Autodesk Maya 2019 and we'll take a look at several feature review.

Maya 2019 Animation Caching

Freelance character and creature animator working with Autodesk Maya: Brian Horgan shows

Maya 2019 Animation Caching from Brian Horgan on Vimeo.


Maya 2019 - MoCap & Content Updates

askNK shows a video about MoCap & Content Updates. If you are into motion-capture or you love testing out the re-targeting system in Maya or you are probably one of those animators that love ready made rigs, then this installment of our videos is for you.


You can check out for more on Maya Blog!
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Autodesk Mudbox 2019 released

January 20, 2019, 7:17 pm
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Autodesk has announced the release of its digital painting and sculpting software Mudbox 2019 with new Preserve Volume option, Dynamic Tesselation and more...!

Autodesk Mudbox 2019New features are:


  -A new Preserve Volume option has been added to the Advanced properties from the Smooth tool so you can stop it from degrading the mesh excessively. This option is useful when working with dynamic tessellation if you want prevent the Smooth tool from reducing the triangulated mesh volume too quickly.
  - Dynamic Tesselation fixes, now supports UVs, Selection Sets, Joint Weights, and Falloff Type. Previously, if any of these elements existed, they were ignored when Dynamic Tessellation created the new triangulated mesh copy. Now, Dynamic Tessellation includes these elements when the triangulated copy is created.
  -The Combine Meshes option in the Mesh menu lets you merge multiple meshes into a single object that contains all of the faces
  -A new feature, Separate Selection, has been added to the Mesh menu so you can separate compound objects into multiple objects within Mudbox.
  -A new property, Stamp Offset, has been added to all relevant sculpting tool properties to let you fine-tune the depth of a stamp imprint on a model's surface.
  -Now, you can cut down the number of UVs on your geometry while still in Mudbox, where previously you had to go to Maya or 3ds Max. The new Delete UVs feature gives you a way to remove UVs from your mesh from the UVs & Maps menu.
  - Smooth Curve hotkey: The Shift key now works to smooth curves while using any of the curve tools, the same way you use it to smooth vertices.
  -Additional Patch tool behavior
  -Improved support for HiDPI monitors.

Availability


Mudbox is rental only at $10 per month or $80 a year. You can read a full list of the new improvements in the online release notes.

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Adobe buys Allegorithmic makers of Substance softwares

January 23, 2019, 8:43 pm
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Adobe (Nasdaq:ADBE) today announced that it has acquired Allegorithmic, makers of Substance, the industry standard for 3D textures and material creation in game and video post-production. By combining Allegorithmic’s Substance 3D design tools with Creative Cloud’s industry-leading imaging, video and motion graphics tools, Adobe will empower video game creators, VFX artists working in film and television, designers and marketers to deliver the next generation of immersive experiences.

In the near future, we will live in a world where real and virtual creations blend. As brands look to compete and differentiate themselves, compelling, interactive experiences enabled by 3D content, VR and AR will become more critical to their future success. 3D content is already transforming traditional workflows into fully immersive and digital ones that save time, reduce cost and open new creative horizons. With the acquisition of Allegorithmic, Adobe takes a powerful step forward in adding expanded 3D and immersive workflows to Creative Cloud and provides Adobe’s core customer base of designers a new set of tools for 3D projects.

“We are seeing an increasing appetite from customers to leverage 3D technology across media, entertainment, retail and marketing to design and deliver fully immersive experiences,” said Scott Belsky, chief product officer and executive vice president, Creative Cloud, Adobe. “Creative Cloud is the creativity platform for all and Substance products are a natural complement to existing Creative Cloud apps that are used in the creation of immersive content, including Photoshop, Dimension, After Effects and Project Aero.”

Allegorithmic is based in France and has a diverse customer base across gaming, film and television, ecommerce, retail, automotive, architecture, design and advertising industries, including leading creative brands like Electronic Arts, Ubisoft, BMW, Ikea, Louis Vuitton, Foster + Partners and more. Allegorithmic is the recognized leader in 3D material and texture authoring for most AAA1 gaming franchises, including Call of Duty, Assassin’s Creed and Forza, and the tools used in the making of award-winning movies, including Blade Runner 2049, Pacific Rim Uprising and Tomb Raider.

“Allegorithmic and Adobe share the same passion for bringing inspiring technologies to creators,” said Sebastien Deguy, CEO and founder, Allegorithmic. “We are excited to join the team, bring together the strength of Allegorithmic’s industry-leading tools with the Creative Cloud platform and transform the way businesses create powerful, interactive content and experiences.”

Adobe’s strong track record of successfully integrating acquisitions will help further accelerate Allegorithmic’s product roadmap and go-to-market and extend its reach among enterprise, SMB and individual customers. Allegorithmic CEO and founder, Sebastien Deguy will take a leadership role in Adobe’s broader 3D and immersive design efforts as vice president, 3D and Immersive, reporting into Scott Belsky.



Allegorithmic tools are already offered as a subscription service to individuals and enterprise customers, and in the future Adobe will focus on expanding the availability of Allegorithmic tools via subscription. Later this year, Adobe will announce an update on new offerings that will bring the full power of Allegorithmic technology and Adobe Creative Cloud together.

Read more from : Adobe's post, Sébastien Deguy - Founder and CEO at Allegorithmic post

Terms of the transaction were not disclosed.


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Google teamed up with Sony Pictures Imageworks to develop Open-Source Render Management named: OpenCue

January 26, 2019, 9:37 pm
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In 2014, Google acquired Zync Render, a service that facilitated cloud-based effects rendering and Now they're having more step into VFX and Animation rendering by teaming up with Sony Pictures Imageworks to develop Open-Source Render Management named: OpenCue. This is a new open-source render manager for VFX and animation, native multithreading supports Katana, RenderMan and Arnold. OpenCue is based on Cue 3, the internal queuing system developed at Sony Pictures Imageworks over the last 15 years. At Sony, the system has been scaled to over 150,000 cores shared between Sony’s own on-premise data center and Google Cloud Platform (GCP) for recent projects. With additional development by GCP, the system has been open-sourced and renamed OpenCue.

“Sony’s strong history of developing software tools has made this an ideal partnership,” said Todd Prives, GCP product manager, media & entertainment, in a blog post announcing the OpenCue release. “Sony has developed and contributed to industry standard software packages such as OpenColorIO and Alembic, which are now critical pieces in the pipeline of hundreds of studios worldwide for the daily creation of content that we view on all devices, be it at the movies, on television or on mobile devices.”


OpenCue incorporates a number of widely used open-source technologies, such as the Python programming language and the Postgres relational database. The main components include Cuebot, a management utility that can run in the background on a workstation or in a server cluster for higher availability; CueGUI, a graphical user interface for monitoring and managing jobs; CueSubmit, a PySide2 app for submitting render jobs that can run as a plug-in for applications including Autodesk Maya and Foundry Nuke; and RQD, a software daemon required on all OpenCue rendering hosts.


OpenCue’s source code and executables are now available in a GitHub repository, along with a wiki containing documentation and links to (as-yet-unused) mailing lists for users and developers. Tutorials and sample projects are coming soon, Prives wrote.

via: Studio Daily

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Total Chaos 2019

January 28, 2019, 9:08 pm
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#TotalChaos2019
Chaos Group has announced Total Chaos 2019, The global gathering of all things CG, will return to Sofia, Bulgaria on May 16 — 18, 2019. Check out some of the best bits of Total Chaos 2018

This year will be even bigger and better, with major stars of the CG industry taking to the stage, masterclasses presented by globally renowned experts, and a chance to mingle with CG fans from around the world.
Below are the first of the speakers. More amazing Speakers should be announced soon.
Until February 13, Chaos group is offering a chance to save up to 45% with an early bird ticket for Total Chaos. You can check out Total Chaos tickets

Bookmark the Total Chaos microsite for up-to-the-minute news on the speakers and schedule, and your go-to resource on where and when the event will take place, and how to get there.
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The Visual Effects of StarWars Solo by ILM

January 30, 2019, 12:11 am
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The Visual Effects from ILM for StarWars Solo: A STAR WARS STORY


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CGI Characters by Vladimir Minguillo

January 30, 2019, 12:45 am
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CGI Characters by Vladimir Minguillo - Senior 3D Modeller based in London. His main tool are ZBrush, Autodesk Maya and Arnold Render






Also check out his Reel




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Epic Games buys 3Lateral

January 30, 2019, 2:40 am
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Epic Games today announced that 3Lateral, the leading developer of digital humans technology and creative content, has joined with Epic in an acquisition that will bring significantly increased investment in the 3Lateral team’s efforts. The Serbia-based group will continue supporting game industry, film, and television partners while working to advance the state of the art in Unreal Engine’s support for virtual humans and creatures.

Epic Games and 3Lateral have collaborations in many projects including the animated short “A Boy and His Kite,” real-time performance capture and moviemaking in “Hellblade: Senua’s Sacrifice,” and the photorealistic, real-time “Siren” and “Digital Andy Serkis” demonstrations.





“Creating digital humans requires deep understanding of every aspect of our appearance and motion, both of which portray our inner self and tell stories around us. We read all these visual cues with great precision as instinct to analyze an image of another human being is deeply embedded in our DNA,” said Vladimir Mastilovic, founder and director of 3Lateral. “Observing, analyzing and reconstructing these mechanisms has always fascinated us at 3Lateral, and we are excited to have joined a like-minded team at Epic Games with such strong desire to solve this near impossible problem.”

“Real-time 3D experiences are reshaping the entire entertainment industry, and digital human technology is at the forefront. Fortnite shows that 200,000,000 people can experience a 3D world together. Reaching the next level requires capturing, personalizing, and conveying individual human faces and emotions,” said Tim Sweeney, founder and CEO of Epic Games.

Vladimir Mastilovic will lead Epic’s worldwide digital humans efforts; the 3Lateral team will continue to support all of its partners; and Epic’s new presence in Serbia will serve as a base for recruiting technical and creative talent in the region.

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Intel unveiled Open Image Denoise - A Free High-Performance Denoising Library for Ray Tracing

January 30, 2019, 8:12 am
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Nowaday CG Artist is quite familiar with the word: Denoise. De-noising is a vital post-processing component of ray-traced images, as it eliminates visual noise generated by too few rays intersecting pixels that make up an image. In an ideal world, a ray should hit every pixel on the screen, but in the real world, computing hasn't advanced enough to do that in reasonable/real-time. Denoising attempts to correct and reconstruct such images. Intel has unveiled its free Open Image Denoise (OIDN) - a collection of high-performance, high-quality denoising filters for images rendered with ray tracing. Open Image Denoise is part of the Intel Rendering Framework and is released under the permissive Apache 2.0 license.

Moana Island Scene rendered at 16 spp with Intel® OSPRay and denoised with Intel® Open Image Denoise

The purpose of Open Image Denoise is to provide an open, high-quality, efficient, and easy-to-use denoising library that allows one to significantly reduce rendering times in ray tracing based rendering applications. It filters out the Monte Carlo noise inherent to stochastic ray tracing methods like path tracing, reducing the amount of necessary samples per pixel by even multiple orders of magnitude (depending on the desired closeness to the ground truth).

Open Image Denoise supports Intel® 64 architecture based CPUs and compatible architectures, and runs on anything from laptops, to workstations, to compute nodes in HPC systems. It is efficient enough to be suitable not only for offline rendering, but, depending on the hardware used, also for interactive ray tracing.

Open Image Denoise internally builds on top of Intel® Math Kernel Library for Deep Neural Networks (MKL-DNN), and fully exploits modern instruction sets like Intel SSE4, AVX2, and AVX-512 to achieve high denoising performance. A CPU with support for at least SSE4.2 is required to run Open Image Denoise.

Open Image Denoise is under active development, if you find some bugs or any such issues you can support to report them via the Open Image Denoise GitHub Issue Tracker, for missing features please contact developer via email at openimagedenoise@googlegroups.com. More information here!
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Isotropix Clarisse iFX 4.0

February 11, 2019, 10:29 pm
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Isotropix, a privately held software company developing high-end innovative graphics software, announced today the launch of Clarisse iFX 4.0, the latest update of its flagship product. For this new release, the software company furthers Clarisse iFX development into set dressing, look development, lighting, rendering and scene assembly - introducing many new features and improvements, adding countless of workflow enhancements to the most innovative 3D and VFX creation tool of the market.

Isotropix also announced a complete overhaul of its pricing and offers, including large price drops on CNode, the headless version of Clarisse aimed at render farms. With 4.0 comes the introduction of the Clarisse iFX Welcome Pack, a limited time offer targeted to new studios adopting Clarisse iFX into their pipeline and a complete change of its educational policy.


Clarisse iFX 4.0 new features


This major update highlights Isotropix commitment to continuously deliver innovative updates and offer CG artists streamlined, creative, and powerful tools for layout, scene assembly, look development, lighting and rendering. Clarisse iFX 4.0 brings its interactive approach to the next level enabling fast, efficient and fully collaborative VFX creation for artists and studios of all sizes.
Set dressing

Clarisse iFX 4.0 introduces a whole host of new tools and workflows to make set dressing a breeze for Clarisse artists. The addition of a transform manipulator streamlines workflow, a new volume display density modifier offers fast and accurate feedback on volumes, a new surface constraint makes attaching items on animated deformed geometry quick and easy, while new playblast functionality gives artists quick photorealistic animated previews with a single click.
Look development

Look development gets even more powerful in Clarisse iFX 4.0. With multiple scattering, rendering results on rough materials get way more photorealistic without a hit on performance. In addition, new mipmapping controls, volume sampling, and material improvements make lookdev in Clarisse iFX even more accurate, efficient and fast.
Lighting

Lighting improvements in Clarisse iFX 4.0 ensure artists are never in the dark. The lighting and rendering pipeline has been rewritten from the ground up to: improve quality, make lights visible to primary rays and optimize render times. There’s also native support for industry standard IES light profiles to ensure photoreal results when matching real lights, and the addition of portal lights and improved spotlights to reduce noise and increase quality.
Rendering

Rendering in Clarisse iFX 4.0 has never been faster or more powerful! All-new adaptive anti-aliasing and new render diagnostic tools deliver high quality renders quicker than ever before. The improved OCIO integration lets artists work one step closer to final grading. The supercharged AOV and holdout workflow streamlines day-to-day work even further, and the new render recovery feature gives the freedom of interrupting and resuming renders over the farm without wasting any precious rendering resources!
Scene assembly

Clarisse iFX 4.0 delivers increased power and control to the artist thanks to native integration of Pixar’s USD, that lets artists load assets up to 50 times faster than with Alembic, and a game-changing new expressions engine, based on the powerful language SeExpr from Walt Disney Animation Studios. In addition, major enhancements to scene management improve user experience and streamline workflows, while the new support for Alembic layering ensures artists maximum flexibility.

Key Clarisse iFX 4.0 Features


  -Transform manipulator
  -Surface constraint
  -Playblast
  -Volume rendering improvements
  -Multiple scattering support
  -Advanced mipmapping controls
  -Light visibility in primary rays
  -IES lights
  -Portal lights
  -Adaptive anti-aliasing
  -Render diagnostic tools
  -CNode render recovery and render resume
  -Expression engine
  -Pixar’s USD native support
  -Alembic layering


More in-depth information about Clarisse 4.0 and its key features are available here!

New pricing and offers


Alongside Clarisse iFX 4.0 release, Isotropix introduces new pricing and special offers for its flagship products making them more accessible and more affordable for indie artists, studios, students, teachers and educational institutions alike. This complete overhaul has been designed to boost Clarisse adoption, bring more flexibility and help new studios transition more easily to Isotropix products when deploying our solutions into their pipelines, while at the same time meeting budgetary constraints inherent to today’s competitive market.

Isotropix introduces a new limited time offer: Clarisse iFX Welcome Pack. Starting today and available until April 30th, 2019 only, Isotropix offers 10 (ten) free permanent CNode floating licenses for each permanent Clarisse iFX floating license purchased by a new customer on its first order at the competitive price of $2,999/2 729€ per pack.

In addition, CNode permanent licenses and rental pricing have been drastically dropped down. A CNode permanent license is now being offered at $549/499€, one-week short term rental now starts at $29/26€ and unit prices of 1-year CNode licenses at $349/319€. Isotropix also introduced 1-year CNode render packs of 5 (five), 25 (twenty-five) and 100 (hundred), 1-year licenses offering additional volume discounts.

For more information about our indies and studios offers and pricing please refer to https://www.isotropix.com/shop/indies and https://www.isotropix.com/shop/studios

New educational pricing and policy


Isotropix also entirely revamped its educational policy to boost the adoption of its software on the educational market.

Students studying in educational institutions teaching Clarisse iFX can now benefit from a free 1-year fully-featured home license of Clarisse iFX, while others eligible students can still purchase the 1-year student educational license at $59/49€.

Teachers working for an eligible educational institution are now entitled to a free 1-year fully-featured node-locked home license of Clarisse iFX to prepare their class material.

Eligible education institutions can now purchase a special educational pack at $199/179€ which includes 10 (ten) 1-year CNode floating licenses with each 1-year Clarisse iFX license purchased. Additional 1-year CNode floating licenses are also available to purchase by eligible educational institutions at $39/35€.

For more information about educational pricing and policy please refer to https://www.isotropix.com/shop/education
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‘Into the Spider-Verse’ ‘Black Panther’ Won BAFTA Awards 2019

February 12, 2019, 8:32 pm
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The British Academy of Film and Television Arts unveiled the winners of the 2019 EE British Academy Film Awards.

Roma won four awards: Best Film, Director, Cinematography and Film Not in the English Language. Alfonso Cuarón won in each of these categories.

Spider-Man: Into the Spider-Verse took the award for Animated Film, while Black Panther received the BAFTA for Special Visual Effects. The BAFTA for British Short Animation was won by Roughhouse by Jonathan Hodgson.

Black Panther VFX by Method Studio

The Favourite was named Outstanding British Film, with Olivia Colman receiving the BAFTA for Leading Actress, Rachel Weisz taking Supporting Actress and Deborah Davis and Tony McNamara winning Original Screenplay. Sandy Powell won Costume Design, Fiona Crombie and Alice Felton won Production Design and Nadia Stacey won Make Up & Hair.

Rami Malik won Leading Actor for his performance as Freddie Mercury in Bohemian Rhapsody; the film also won the award for Sound. Supporting Actor went to Mahershala Ali for his performance in Green Book. BlacKkKlansman won Adapted Screenplay.

A Star Is Born won Original Music and Vice took the BAFTA for Editing. The BAFTA for Documentary was won by Free Solo. Writer/Director Michael Pearce and Producer Lauren Dark received the award for Outstanding Debut by a British Writer, Director or Producer for Beast. 73 Cows won the British Short Film award.

See the full list of the Winner here!

The Special Award for Outstanding British Contribution to Cinema was presented to Elizabeth Karlsen and Stephen Woolley, a producing partnership who have created some of the most iconic British films of recent years, including The Crying Game, Company of Wolves, Little Voice, Scandal, Carol and Colette.

The Fellowship, the highest honor the Academy can bestow, was presented to editor Thelma Schoonmaker by HRH The Duke of Cambridge, President of BAFTA, and Cate Blanchett. The EE Rising Star Award, voted for by the public, went to Letitia Wright.

The ceremony, which was hosted by Joanna Lumley, was held at London’s Royal Albert Hall and featured performances by Cirque du Soleil and Jess Gillam.

As part of BAFTA’s year-round program of learning events and initiatives, over 80 of this year’s nominees took part in more than 14 “BAFTA Film: The Sessions” on Saturday, February 9. The Sessions saw the nominees discuss their craft in interviews that will be available online on BAFTA Guru in the coming days. In addition, the nominated short films are now available to view in the U.K. in Curzon cinemas around the country and online at www.curzonhomecinema.com.

Other year-round film activity includes initiatives such as our new talent activity and scholarships program, BAFTA Crew and BAFTA Elevate as well as masterclasses, the David Lean Lecture delivered by a leading film director and ‘A Life in Pictures’.    [post_ads_2]
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RDT Collection 7

February 12, 2019, 9:06 pm
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Real Displacement Texture has unveiled Its collection 7 which includes 63 of high-end forests floor scans. The collection is made to create incredible photorealistic forests of many different types, from broadleaves to conifer, from deep forests to parks.   

Included are:

- 6x different forestfloors (broadleave and conifer forest in up to 16k resolution)
- 12x barks (with 3 formats for different trunk-radius wide/mid/slim)
- 12x woodlog-objects (perfect for scattering)
- 30x dead leaves (perfect for scattering, dynamics and to hang on trees)
- 1x clover (including alpha to use it instead of scattering billions of single clover-plants)
- 2x wood-textures (to create your own dead woods)

Get the catalog here. Demo can be seen here! Buy collection 7 here
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Avengers: Infinity War VFX Compilation

February 13, 2019, 3:05 am
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Check out the Avengers: Infinity War VFX Compilation from ILM, Digital Domain, Framestore, Cinesite, Weta Digital


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Download Unreal Engine 4.22 Preview 1

February 13, 2019, 7:59 pm
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Epic Games has announced that Unreal Engine 4.22 will be releasing soon with a number of fixes and updates and they've just release the first Preview for download from the Epic Games launcher.

Preview 1 includes support for real-time ray tracing, Editor Utility Widgets, Movable Spotlight support on mobile, virtual production updates, Oculus Quest support, and Blueprint indexing optimizations.




A full list of the upcoming changes to this build are available on the Unreal Engine forums.

To get started with Unreal Engine 4.22 Preview 1, head to the Unreal Engine section on the launcher, select Library at the top, then click the plus icon next to Engine Versions and choose 4.22 Preview 1.

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