Autodesk 3ds Max
Trade shows are a big part of the life of a Technical Specialist at Autodesk. It's our chance to reunite our global team, create new content and demonstrate the new releases of the software to customers face to face. It's also an opportunity to connect with the Product Design team in Montreal at what we call "Boot Camp". Like the name implies, it's a very intense and ambitious exercise but one that propels us into the show and gives us the product knowledge and energy that we take back to our various regions.
Get a "Behind the Scenes" look into the making of the award winning "Carousel" by Richard Lyons from Redrum in Stockholm, Sweden. See why Flame was so important in the execution of this highly complex project that was produced for Philips Television and directed by Adam Berg. Richard takes us through the concept, scouting the location, pre-visualization, production and finally the post-production challenges of probably one of the most interesting projects we've ever presented at IBC.
All of the 2011 releases of Autodesk products feature stereoscopic tools and my good friend Marc Hamaker had a chance to sit down with some of our best clients to discuss how artists, especially Flame artists, are preparing to meet the challenge of Stereoscopic Finishing. Take a look at Marc's guest blog post and be sure to watch the you tube video he links to at the end.
A powerful 3D Finishing Pipeline can actually drive Production. It can give you the confidence to say "Yes" to just about any client request. In this "Creative 3D Finishing" presentation from Siggraph 2010 you'll see the advantages of working with a Connected "3D Aware" Pipeline.
In Flame 2011, the "Ease of Use" improvements in the software are significant. The introduction of the Gateway Library Import feature allows users to simply Drag and Drop formats like RED, multi-channel OpenEXR, and H.264 directly into the application through the Dual View Library. This provides artists both a visual and a gestural way to browse and bring in their media.
The key with Flare is Flexibility. Flare makes your investment in Flame more valuable by giving Flame owners new ways to deploy Flame's great tool set. Flare can work Side by Side with a Flame on the same project OR it can be used Stand Alone to take on more jobs and increase the capacity of your facility. Flare works with a Floating License so you can move it around to different machines and you can even run Flare on on a Laptop so you can essentially bring Flame's powerful tools with you On-Set to a shoot!
Wow! NAB 2010 is still like a blur to me, a 3D Blur with lots of samples! The new version of Flame V2011 is amazing, it's clearly the best release ever. Jammed packed with new features like Pixel Shaders, Substance Textures and new Workflows like 3D Stereoscopy....
Launching a new product can keep you busy, especially when it means getting in front of the Mac community! The response has been amazing to the introduction of Smoke on the Mac. Whether it be Final Cut Pro or After Effects User Groups, or the infamous FCP SuperMeets, you can't believe the enthusiasm I've received for my demos of Smoke on the Mac OSX platform.
Flame was designed from the ground up to provide artists unmatched Speed and Interactivity. This next technique really highlights the advantages of working with a fast 3D software. Like a digital electrician, in Flame you can "wire up" nodes in the Action schematic to create very interesting relationships and perhaps unexpected behaviors between layers and objects.
Flame is the perfect software for creating "Day of Air" Broadcast Graphics. Promos, Bumpers, Lower 3rds, complete Broadcast Design Packages are made everyday around the world using Flame. I learned this next technique from a Broadcast Designer who spent a few years working for Autodesk as a Demo Artist in APAC, Barnaby Bretton.