Computer Graphics World

March/April 2013

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further bottlenecking the production process. And this is before the film even gets to color grading. The data added by modern special effects can easily dwarf a film's raw footage. The layered footage created by digital artists is so data-intensive, it usually has to be uploaded to a massive array, and then reviewed in a centralized location with enough throughput to effectively composite footage into one semi-final product. Flash memory, the same memory that powers smartphones and tablets, is now helping digital artists accelerate their pipelines by providing the power and throughput needed to work on 2k, 4k, and 5k content interactively from their workstations, even in full resolution. With the ability to achieve reads up to 6gb/ sec – as in gigabytes, not gigabits – flash is more than capable of delivering the performance needed to manipulate 5k content. And as more films begin to jump on the 48 fps bandwagon, the industry will need to shift to new solutions, like flash application acceleration, to meet deadlines. The beauty of flash-based solutions is that digital artists won't have to change the way they acceleration just means that artists will spend a lot less time sitting around, waiting for applications to load files and process changes. It will also mean artists can edit stereoscopic content in real time, so they won't have to upload shots to a shared storage appliance to be viewed in a review room. Your own machine can now have the power to process even the most data-intensive tasks. There was a time when it was too costly for independent artists to incorporate powerful solutions like this into their home studios, let alone for larger facilities to deploy application acceleration across the studio. Today, solutions can be affordably incorporated to allow any device – even a tablet – with a PCIe or Thunderbolt connection to gain the throughput needed to work in 5k. Making great movies is about telling better stories. With powerful flash memory platforms, Peter Jackson's The Hobbit showed us the next artists can focus on the most important part of evolution in filmmaking: shooting at 5K, in 3D, their job, instead of worrying whether their sysat 48 frames per second, resulting in a plethora tems can keep up with their creativity. As a lifeof data that can create production bottlenecks long fan of VFX blockbusters and the creativity of epic proportion. of our industry's artists, I can't wait to see what do anything. Flash visual magic is unleashed by the power of flash. ■ A SMALL SELECTION OF VFS ANIMATION & VISUAL EFFECTS ALUMNI CREDITS INCLUDE The Amazing Spider Man Amy Lu, Senior Animator | Cedric Lo, Senior Animator | Cobal Yu, Digital Artist | Laurie Powers, Compositor | Marco Leone, Stereo Compositor Matt Wheeler, Lighting TD | Mike Dhamey, Senior Animator | Argo Geoffrey Hancock, Visual Effects Supervisor | Jamie Bowers, Texture Artist | Jose Yapor, Visual Effects Artist Assassins Creed III Dan Vargas, Senior Artist | Magdalena Dadela, Senior Character Artist The Avengers Aaron Gilman, Animation Supervisor | Stephen King, Lead Animator | Cedric Lo, Lead Animator | Scott Jones, Creature TD | Daphne de Jesus, Senior Digital Paint Artist | Nicholas Markel, Previsualization Supervisor The Bourne Legacy Emanuele Bignone, Generalist TD | Jose Julian Karam Lopez, Compositor | Saptarshi Chakraborty, Compositor | Gia Sadhwani, Visual Effects Artist | Pietro Ponti, CG Sequence Lead Brave Bill Watral, Effects Artist | Justine Codron, Lighting TD Cars 2 Stephen King, Animator | Sherrie Law, Digital Painter Cloud Atlas Kyeyong Peck, Senior Modeler/Texture Artist | Geoffrey Hancock, Visual Effects Supervisor Jamie Bowers, Texture Artist | Jose Yapor, Visual Effects Artist | Ian Sorensen, Lead Modeler | Alberto Landeros, Digital Compositor Lisa Nolan, Visual Effects Artist Conan the Barbarian Giancarlo Derchie, Lead Compositor | Tim Chou, Stereoscopic Conversion Compositor | Giacomo Cavalletti, Environment Modeler The Dark Knight Rises Dean Mangion, Matchmove Artist Frederik Lillelund, Lighting TD Dead Rising 2 Fredrick Fassé, Animator Dead Space 2 Wayne Gonsalves, Environment Art Lead Deus Ex: Human Revolution Ryan Nickell, Senior Animator Diablo III John Miller, Environment Artist | Alvaro Buendia, Cinematic Artist Steven Chen, Cinematic Artist District 9 Neill Blomkamp, Director/Co-Writer | Shawn Walsh, Visual Effects Executive Producer Robert Bourgeault, Lighting Lead | Paul Copeland, Character TD | James Stewart, Creature Supervisor Dragon Age II Nathan Zufelt, Senior Cinematic Animator Family Guy Michael Loya, Storyboard Artist Fast Five Rommel Shamoun, Compositor | Anthony Di Ninno, Animator FIFA 13 Jason McNamar, Associate Modeler Futurama Claudia Keene, Prop Designer Halo 4 Steve Dyck, Lead Animator | Mark Tanner, Senior Animator | Kolby Jukes, Senior Character Artist | Andrew Bosold, 3D Environment Artist Harry Potter and the Deathly Hallows – Part 2 Henry South, CG Modeler | Joshua Herrig, Lead Lighting Artist | Jozef van Eenbergen, Pipeline Developer | Nuno Nisa Pereira, Visual Effects TD The Hobbit: An Unexpected Journey Adam Bradley, Senior Digital Paint Artist | Louis Cox, Camera TD | Michael Cozens, Senior Animator | Aaron Gilman, Senior Animator | Tamir Diab, Lighting TD | Cesar Rodriguez Bautista, Senior Paint Artist Hotel Transylvania Chad Ellis, Senior Animator | Eva Fan, Animator | Will McCrate, Digital Artist Hugo Geeta Basantani, Lead Compositor Ice Age: Continental Drift Borae Cho, Pipeline TD | Graham Silva, Animator Scott Lemmer, Animator | Thom Roberts, Animator Life of Pi Alex Berson, Roto/Paint Artist | Andrew Juano, Roto/Prep Artist | Diego Piccinato, Digital Compositor | Jason McKeeman, Lead Creature FX TD | Kirk Chantraine, Pipeline Software Engineer | Oded Granot, Compositing TD | Richard Sur, Lighting TD | Ryan B. Clarke, Senior Compositor | Teh-wei Yeh, Lighting TD Mass Effect 3 Nathan Zufelt, Cinematic Animator | Bartek Kujbida, Cinematic Animator Men in Black 3 Juan Carlos Mendoza, Digital Compositor | John Iskandar, Lighting and Compositing TD | Raphael Santos, Roto Artist | Ricardo Gomez, CG Artist My Little Pony: Friendship Is Magic Jayson Thiessen, Supervising Director | James Wootton, Director Prometheus Gerard Van Ommen Kloeke, Character Rigging Supervisor | Chrystia Siolkowsky, Roto Artist | Giancarlo D'erchie, Digital Compositor | Louis Cox, Camera TD Resident Evil: Retribution Corey Coates, Compositor | Juan Carlos Mendoza, Digital Compositor | Diego Piccinato, Digital Compositor | Ricardo Gomez, CG Artist | Arthur Logo, Digital Compositor | Karan Awasthi, Digital Compositor Rise of the Planet of the Apes Carolyn Wong, Creature TD | Richard Sur, Lighting TD | Chrystia Siolkowsky, Motion Editor Sleeping Dogs Andrew Poon, Cinematics Animator | Corey Kleim, Lead World Artist | Hani Abu-Ghazaleh, Art Director | Rob Starr, Lighting Artist | Sota Yuyama, Gameplay Animator | Terence Wong, Character Artist Smurfs Jeff Struthers, Character Animator Michael Dharney, Senior Animator SpongeBob SquarePants Andrew Overtoom, Animation Director Supernatural Christopher Richardson, Compositor/Lead Artist | Sebastian Fernandez Hyde, Digital Compositor | Werner ten Hoeve, Compositor Thor Daphne De Jesus, Roto/Paint Artist | Eric Petey, Animation Supervisor | Rex Fang, Animator Toy Story 3 Daniel Holland, Sets Artist Tristan Ikuta, Simulation & Effects Artist Transformers: Dark of the Moon Serguei Kalentchouk, Lead Character TD | Jooyong Lee, Digital Artist The Twilight Saga: Breaking Dawn – Part 2 Abel Vargas, Paint/Roto Artist | Arthur Lobo, Digital Compositor Corey Coates, Compositor | Frank Akrong, Digital Compositor | Giorgio Bertolone, Senior Rigger | Karan Awasthi, Digital Compositor Marcela A. Silva, Paint/Roto Artist Uncharted 3: Drake's Deception Mike Yosh, Lead Gameplay Animator | Jason Richmond, Game Director Wreck-It Ralph Andrew Lawson, Animator | Justin Hammond, Senior Lighting Artist | John Wong, Animator Zero Dark Thirty Shivas Thilak Anthikkat, Paint/Roto Artist | Jessica Wan, Compositor | Chun-Ping Chao, Digital Compositor TO NAME A FEW VFS STUDENT WORK BY CHASE WALLER March/April 2013 CGW0313-viewpointpfin.indd 9 9 3/14/13 12:08 PM

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