SAN RAFAEL, Calif., Dec. 20 /PRNewswire-FirstCall/ -- Autodesk Inc.'s
(Nasdaq: ADSK) media and entertainment products have helped digital artists
create some of this season's blockbuster films. Post-production facilities
relied on Autodesk solutions for visual effects creation, editing and
finishing, color grading and 3D animation.
(Logo: http://www.newscom.com/cgi-bin/prnh/20050415/SFF034LOGO )
"Autodesk provides end-to-end solutions for the entire film workflow, from
idea creation and story boarding to final production," explained Marc Petit,
Autodesk's Media & Entertainment vice president. "This allows Autodesk to
have a deep understanding of all aspects of the film workflow, enabling us to
create unique solutions that meet the specific needs of post-production
facilities. Also, facilities with an Autodesk pipeline enjoy the seamless
movement of data through the various stages of film workflows."
The Autodesk Flame visual effects system was used by Buzz Image Group to
create 33 shots for the supernatural film The Covenant. Flame artists at the
facility composited 3D set extensions and actors shot on bluescreen and
greenscreen into filmed backgrounds. Digital artists also used the system to
create and adjust various elements such as lighthouse lighting and skies, as
well as for various wire and lighting rig removals.
Furthermore, Buzz Image Group used Autodesk Flame to shape futuristic
scenes for The Fountain. For one of this film's final scenes, the system was
used to create the effect of skin ripping as plants grow through it. The
facility's Flame work also involved compositing live and computer-generated
(CG) growing plant elements into live-action footage. "Autodesk Flame allows
us to take full advantage of our artists' talent and creativity," said Jacques
Levesque, executive visual effects producer. "The system's speed and
interactivity let us experiment in real-time until we perfect the shot."
Framestore CFC used the Autodesk Inferno visual effects system to create
the title sequence for Casino Royale, the story of James Bond's first mission
as a "double O" agent. As this was the 21st Bond film created, director and
titles designer Daniel Kleinman wanted to refresh the franchise's famous title
sequence. Using gambling-related imagery and fight sequences, Framestore
CFC's Head of Inferno, William Bartlett, created a modern sequence with a
retrospective feel.
Los Angeles-based LaserPacific Media Corporation used the Autodesk Lustre
digital color grading system on a variety of this season's films, including
Babel, The Black Dahlia, For Your Consideration and Stranger Than Fiction.
For Stranger Than Fiction, the facility played a key role in integrating many
of the film's visual effects shots. Lustre was used to build the film's
timeline.
Colorist Mike Sowa also used the system to achieve the perfect color
choices and saturation for the film. "We recalled the look, style and feeling
of Jacques Tati's 1967 film Play Time," said cinematographer Roberto Schafer.
"Now that Roberto has seen the tremendous degree of control, he is a firm
believer in the DI process," added Sowa.
Autodesk 3ds Max 3D animation, modeling and rendering software was used by
Youngu-art to model and animate legendary creatures that return to devastate
planet earth in the Korean film D-War. "We chose Autodesk 3ds Max for its
powerful polygon modeling, which allowed us to create the complex and detailed
characters in a very intuitive and efficient way," noted Ho-Suk Jang, computer
graphic supervisor for the film. "The software's biped character animation
tools also allowed us to easily control the various types of characters as
they interacted with crowds of humans."
Several other post-production facilities used Autodesk solutions to create
this season's blockbuster films, including the following:
- Mokko Studios completed 8 hero shots for The Fountain using the
Autodesk Toxik digital compositing software. In the Mayan pyramid
final scene, Toxik was used to composite live-action footage of Hugh
Jackman with various elements
- For Night at the Museum Rhythm & Hues used Autodesk Maya to model
approximately 60 of the museum's characters and Autodesk Inferno
2007 for compositing and color correction. The facility also used
Inferno and Maya to bring a classic story to life in Charlotte's Web
- Cinesite used Autodesk Maya 3D animation, modeling and rendering
software to create shots of a CG steam train for Miss Potter
- For The Curse of the Golden Flower Moving Picture Company created 20
shots including a CG army using Autodesk Maya
- Asylum used Autodesk Inferno and Autodesk Flame, as well as the
Autodesk Smoke editing and finishing system to shape Déjà Vu.
Autodesk Lustre digital color grading system was also used to
maintain color continuity. In addition, the facility completed work
for Apocalypto using Inferno, Toxik and Lustre
- Look Effects created visual effects shots for Apocalypto, Blood
Diamond, Unaccompanied Minors and Rocky Balboa using Maya as well as
the Autodesk Flame and Autodesk Flint visual effects systems
About Autodesk
Autodesk, Inc. is a Fortune 1000 company, wholly focused on ensuring that
great ideas are turned into reality. With seven million users, Autodesk is the
world's leading software and services company for the manufacturing,
infrastructure, building, media and entertainment, and wireless data services
fields. Autodesk's solutions help customers create, manage and share their
data and digital assets more effectively. As a result, customers turn ideas
into competitive advantage, become more productive, streamline project
efficiency and maximize profits.
Founded in 1982, Autodesk is headquartered in San Rafael, California. For
additional information about Autodesk, please visit http://www.autodesk.com/ .
NOTE: Autodesk, 3ds Max, Flame, Flint, Inferno, Lustre, Maya, Smoke and
Toxik are registered trademarks or trademarks of Autodesk, Inc., 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.
Contact: Brittany Bonhomme, +1-514-954-7419, or
brittany.bonhomme@autodesk.com.
SOURCE Autodesk, Inc. 12/20/2006
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AP Archive: http://photoarchive.ap.org
PRN Photo Desk, photodesk@prnewswire.com
Web site: http://www.autodesk.com
(ADSK)
8589 12/20/2006 08:30 EST http://www.prnewswire.com
