Computer Graphics World

Edition 2 2018

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6 cgw | e d i t i o n 2 , 2 0 1 8 compositing work creating the dingy cityscapes of Blade Runner 2049 brings us that much closer to the action and realism of the Academy Award-winning film. Troubles Behind the Scenes Despite huge technical leaps in the VFX space, the industry itself has seen its fair share of turbulence over the last two decades. Of the four biggest VFX companies in the late 1970s – Boss Films, ILM, Dream Quest Images, and Apogee – only one remains: Lucasfilm's ILM, now under the Disney umbrella. The industry has been plagued with issues of debt, and the entertainment industry hasn't always understood the job of VFX professionals and the creativity involved. The most high-profile case of a studio going bust is Rhythm & Hues, the post house be- hind the multi-Oscar-winning Life of Pi. Set against a backdrop of protests and public spats, the event marked a crossroads in the VFX industry. Following the crisis, many artists were le question- ing the industry's role in moviemaking. How could an Oscar-win- ning VFX studio go bust so soon aer the movie was released? The reality is that many studios operate with tight profit mar- gins, working in a globally distributed market that is dominated by a few big players. While VFX studios have become better at planning and mitigating the risks, their fortunes can still be sunk by events outside their own control. Invisible VFX It's easy to overlook the "invisible" VFX used in film that oen takes a backseat when compared to the outlandish spaceships and explo- sions we have come to associate with blockbusters. Studios work tirelessly to enhance movies in such subtle ways that the audiences are unaware footage has been changed. For example, today's period dramas that seem to perfectly reflect the environment of the times are all re-created through VFX. Studios can re-create landscapes that bring the past to life – from entire buildings to the smallest street signs – using the technology so seamlessly it is as though the objects weren't there at all. And the Winner Is… This year, it was Blade Runner 2049 that took home the official statuette at the Academy Awards, showcasing incredible visual prowess and creative thinking. But all the nominees in the VFX category have shown how artists are pushing the boundaries of what is possible and raising the industry standard for yet another year. Looking ahead at the movies we see being cooked up for 2018 and beyond, the future looks bright for VFX. V I E W P O I N T Simon Robinson is co-founder and chief scientist of Foundry. FOR ADVERTISING INFORMATION CONTACT MARI KOHN, DIR. OF SALES | 818. 291.1153 | LISA NEELY, MARKETING & ADVERTISING SALES EXEC. 818.660.5828 | WILLIAM R. RITTWAGE, PRESIDENT/CEO 818. 291.1111 | next issue SPACE RESERVATIONS: 6/15 MATERIALS DUE: 6/29 DELIVERED: 8/12 ¢ EDUCATION SUPPLEMENT - Helping to keep students on the leading edge of the classroom. ¢ JURASSIC PARK: FALLEN KINGDOM - For 25 years, CG scientists and ILM creatives have evolved their ability to create realistic dinosaurs for the big screen. Be prepared for another giant evolutionary step in computer graphics with Jurassic World: Fallen Kingdom. ¢ VISUAL EFFECTS - From the past to the future, see how VFX artists are creating this summer's blockbusters. ¢ ANIMATION - Animated superheroes return, as does our favorite monster family. Learn about the cutting-edge techniques used. ¢ TECHNOLOGY - How open source has helped the industry move forward. ¢ REAL TIME - Game engines establish a foothold in areas outside of gaming. BONUS DISTRIBUTION: SIGGRAPH 2018 — Vancouver These are some of the exciting topics that will be covered in the Edition - 2, 2018 issue of Computer Graphics World magazine.

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