Computer Graphics World

September/October 2013

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quickly and evaluate how the shot is working, but it's difficult to analyze and evaluate a composition. It would be amazing to have access to image analysis tools similar to what stereographers have on set, Frankel adds. Along with greater integration with the on-set production crew, PLF's Robinson would also like to see a future where previs is partnering with, and feeding, the final vendor more closely, entwining their pipelines, techniques, and technology to help expedite their finished work. That aside, he'd also like to see a quicker mocap system, streamlining the process of using the virtual camera and the MVN suit so it can be quickly deployed for real-time exploration of a scene. While the introduction of real-time depth of field in Maya's viewport has been a huge help, the need for advancement in real-time technology is always pressing. Along with better realtime lighting, The Third Floor's Ramirez would also like to see advancement in real-time shadows. " "It's exciting to see advances like Viewport 2.0, and game engines capable of real-time shadows, depth of field, and so on, " adds Constantine, "but there are still limitations to those technologies in terms of speed, flexibility, ramp-up time, and unpredictability when used in a fast-paced production environment. " Mr. X's Calvert believes the tools are slowly improving, but looking at the type of imagery that can be obtained from today's game engines, they're still lagging. "Using the Crytek or Unreal engines are things we're investigating for the future, " he says. " much, much better viewport in Maya is also high A on my wish list. " The Third Floor's Markel adds his voice to the choir: "The single greatest improvement right now would be a better viewport display in Maya. If we can keep the speed but improve quality, that's a benefit. Adding reliable ways to get realistic lighting would be of great value to the DP but it has to be done , in the viewport, and without rendering. " Another potential game-changer looming on the horizon is the type of augmented-reality setup used by del Toro and Luhrmann. "We're seeing it gaining traction, says Calvert. " "Tools that easily allow a director to step within a virtual set and operate alongside digital characters will become more widely accepted. " In the near future, Frankel envisions previs evolving into the "nexus of interdepartmental communication, and Markel adds " that the key to maximizing its potential in this new role is making previs a separate department with its own budget, into which all departments could contribute relevant information. ■ CGW Martin McEachern is an award-winning writer and contributing editor for CGW. Visual Effects Graphics Video Animation Animation Effects Software Software Film 3D Digital Film Graphics Game Technology Design Computer Artists Visual Tools Systems Computer Graphics Production Models Features Art Applications Games Web Director Media Animated Scene Performance Workflow Lighting Industry CGI System Technology Data Modeling VFX Characters Users Rendering Media 2D Interactive cgw. com | mAY/ JUNE 2013 Blue-skyin g it VFX studios boldly go wh one has gon ere no e before $8.00 US | $8.25 Can Computer Graphics World: your destination for all things CG Subscribe Today! • Follow us on: @CGWmagazine Computer-Graphics-World C G W S e p t e mb e r / O c t o b e r 2 013 ■ 33

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