Florian Gellinger, vfx supervisor at rise | fx Berlin, shows off the work they did in Nuke from previs thru finish for the film "This is Love". http://ping.fm/4sWji

Teal and Orange - Hollywood, please stop the madness!!

"THE COLOR GRADING VIRUS THAT IS TEAL & ORANGE!!!" - interesting musings from Todd Miro, an indie film-maker and digital artist.

http://theabyssgazes.blogspot.com/2010/03/teal-and-orange-hollywood-please-stop.html

Autodesk Consulting and BOXX Technologies Deliver First Turn-Key Rendering Solution

Solution Provides Small to Mid-Size Visual Effects Companies with Configurable and Scalable Solution to Meet Rendering Needs


BOXX Technologies, an innovator in high-performance computing systems for visual effects, post-production, graphic design and advanced visualization, together with Autodesk, Inc., a world leader in 2D and 3D design, engineering, and entertainment software, today announced the introduction of RenderFarm on Wheels (ROW), the world’s first turn-key dedicated rendering system. 


More: http://news.creativecow.net/story/863227
More information on Renderfarm on Wheels (ROW) here: http://www.boxxtech.com/products/ROW/row_overview.asp

VFX Bakeoff 2010

Check out breakdowns, clips and trailers from the Oscars short listed VFX work.

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How Weta Digital Handled Avatar

James Cameron’s Stereo-3D Epic Demanded Workflow Innovation

By Barbara Robertson January 5, 2010 Source: Film & Video Avatar, director James Cameron’s second billion-dollar baby, stretched the process of making a visual effects blockbuster as much as it is stretching the imagination of audiences streaming into theaters to revel in an alien world. To create the moon Pandora and the Na’vi who live there, Cameron’s Lightstorm Entertainment, with help from Giant studios, created a real-time performance capture system. The system allowed the director to see CG characters in CG environments reacting in realtime as the actors climbed props representing trees, rode gimbaled machines representing horses and dragons, and otherwise moved around the stage. ...more

Modern Videofilm Goes the Distance on Color-Grading for Avatar

James Cameron Could Tweak His Look at the Post House or on the Studio Lot

By Bryant Frazer January 14, 2010 Source: Film & Video

When you're James Cameron, you need to be in several places at the same time. That's why Modern Videofilm needed to figure out a way to let Cameron work on color-correcting Avatar whether he and colorist Skip Kimball were in a DI suite at Modern or sitting on the Fox Studios lot across town. To solve the problem, Modern Videofilm installed a Blackmagic Design DaVinci Resolve system at the Fox lot in Century City, then networked it via optical fiber to the Modern offices in Glendale, 56 miles away. Data was mirrored on local storage so that changes to the edit or color-grading that were made in one location were immediately reflected at the other. That meant Cameron and Kimball could work at full power and efficiency on the studio lot as well as at Modern. F&V got more details from Mark Smirnoff, president of studio services at Modern Videofilm.

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Introduction to Cache-A Archiving Appliance

If you're unfamiliar with Cache-A's Archiving Appliance, this is a great introductory video. More information on Cache-A's products an be found at their website: http://cache-a.com/