Leading Studios used Autodesk Software to Create The Happening, Hancock, The
Chronicles of Narnia: Prince Caspian and More
SAN RAFAEL, Calif., Sept. 11 /PRNewswire-FirstCall/ -- Autodesk, Inc.'s
(Nasdaq: ADSK) entertainment software helped leading studios create many of
the summer's most popular films. Autodesk software was used throughout digital
film pipelines, from pre-visualization and virtual cinematography to mastering
and final animation.
The Happening
The Third Floor, a Los Angeles-based digital studio, used Autodesk Maya 3D
modeling software and Autodesk MotionBuilder character animation software to
craft several of The Happening's signature moments. The film's car crash and
lion attack scenes were pre-visualized in Maya. This enabled director M. Night
Shyamalan to approve the intent of performances and camerawork in advance of
filming.
"Autodesk Maya is our directors' sandbox," said Chris Edwards, CEO of The
Third Floor. "It allows us to create anything our clients can imagine."
The Chronicles of Narnia: Prince Caspian
Using Maya and MotionBuilder, The Third Floor also designed and
pre-visualized three major sequences for The Chronicles of Narnia: Prince
Caspian: the River God, Lucy's Dream and the End Battle. This process allowed
The Third Floor to stage the action and propose alternative shot ideas to
director Andrew Adamson, adding further depth and detail to the story.
Hancock
Sony Pictures Imageworks (SPI) completed over 500 shots in Hancock using
Maya and the Autodesk Flame visual effects system. "Major sequences such as
the Hollywood Fight, the Hospital Battle and the SUV Chase couldn't have been
created without Maya and Flame," said Todd Mesher, senior visual effects
artist at SPI. "Their creative tools and interactivity make them key to our
digital pipeline."
Journey to the Center of the Earth
Visual effects studio Frantic Films VFX served as a visual effects
provider for the stereoscopic feature film Journey to the Center of the Earth.
In addition to designing a custom character pipeline for the film, Frantic
Films VFX also built a stereoscopic pipeline. These pipelines included
Autodesk software, used to produce more than 180 shots. All animation and
lighting was created with Autodesk 3ds Max 3D animation software, which was
also used extensively in the ocean sequences. In addition, Autodesk Mudbox
software was used to sculpt creatures.
"Once again, 3ds Max software's power and flexibility were indispensable,"
said Chris Harvey, visual effects supervisor at Frantic Films VFX. "The
software's scriptability made it the backbone of our digital pipeline. As
well, we forged new ground in creature animation and were extremely happy with
the software's performance."
Digital Color Grading at EFILM
Numerous films were completed by EFILM, using its EWORKS system for the
digital intermediate. The EWORKS system consists of a proprietary
configuration of Autodesk Lustre and Autodesk Incinerator technology. Films
included Horton Hears a Who, The Ruins, Nim's Island, Sex and the City, Iron
Man, Indiana Jones and the Kingdom of the Crystal Skull, What Happens in
Vegas, Red Belt, The Incredible Hulk, Wanted and Get Smart.
... And Many More
Leading visual effects and animation facilities continued the tradition of
relying on Autodesk technology to deliver the majority of Hollywood
blockbusters released this summer, including:
* Get Smart: DIGIT did the majority of compositing work with Flame and
Autodesk Combustion desktop compositing software. In addition, DIGIT built all
the 3D parachutes in Maya.
* Indiana Jones and the Kingdom of the Crystal Skull: Industrial Light &
Magic completed 540 shots (48 minutes of screen time) with Maya and the
Autodesk Inferno system as part of its proprietary Sabre system. Maya was used
for modeling, creature development and particle work.
* Iron Man: Industrial Light & Magic completed 410 shots with Maya and
Inferno as part of its Sabre system.
* Kung Fu Panda: DreamWorks used Maya and Lustre.
* Meet Dave: CIS Hollywood completed 163 shots for the film, with
approximately one-third of the film composited with Inferno. Using Maya and
MotionBuilder, The Third Floor pre-visualized five sequences that involved
elaborate interaction between the aliens and the real world.
* The Mummy: Tomb of the Dragon Emperor: Digital Domain used Maya
extensively to animate the emperor in his changing liquid-solid state. The
company also incorporated Maya nCloth when creating the Foundation Army's
flags and desiccated clothing. Rhythm & Hues used Mudbox to model dragons,
Nion and Yeti.
* The Incredible Hulk: Rhythm and Hues completed 234 shots, using Maya and
Mudbox extensively for modeling both the Hulk and the Abomination characters.
Maya was also used to model vehicles and objects.
* Tropic Thunder: CIS Vancouver used Maya, Inferno and Flame. CIS
Hollywood primarily used Maya, along with 3ds Max, Inferno and Flame.
* X-Files: I Want to Believe: Entity FX supervised almost 400 visual
effects shots, which included the use of Inferno and Maya. A large portion of
the work involved radically altering shot environments through digital weather
effects, such as photorealistic, computer-generated snow.
About Autodesk
Autodesk, Inc., is the world leader in 2D and 3D design software for the
manufacturing, building and construction, and media and entertainment markets.
Since its introduction of AutoCAD software in 1982, Autodesk has developed the
broadest portfolio of state-of-the-art Digital Prototyping solutions to help
customers experience their ideas before they are real. Fortune 1000 companies
rely on Autodesk for the tools to visualize, simulate and analyze real-world
performance early in the design process to save time and money, enhance
quality and foster innovation. For additional information about Autodesk,
visit http://www.autodesk.com.
Autodesk, AutoCAD, Combustion, Flame, Incinerator, Inferno, Lustre, Maya,
MotionBuilder, Mudbox, and 3ds Max and are registered trademarks or trademarks
Autodesk, Inc., and/or its subsidiaries and/or affiliates, in the USA and/or
other countries. All other brand names, product names or trademarks belong to
their respective holders. Autodesk reserves the right to alter product
offerings and specifications at any time without notice, and is not
responsible for typographical or graphical errors that may appear in this
document.
(C) 2008 Autodesk, Inc. All rights reserved.
Contacts: Roohi Saeed, 514.954.2838 / Karen Raz, 310.450.1482
Email: roohi.saeed@autodesk.com / karen@razpr.com
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