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Autodeskn Film

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Autodesk Film Solutions

Digital Entertainment Creation

Image courtesy o Universal Studios Licensing LLLP.

nce the inception o cinema, lmmakers have strived

tell stories in the most compelling manner possible,

nd technology has always had a signicant role to play.

oday, new digital processes rom digital intermediate

DI) to virtual moviemaking are transorming the way

mmakers and their teams create high-quality movientertainment. More and more studios are releasing

nimated and live-action eature lms in stereoscopic 3D

3D) ormat. Autodesk technology is designed to help

ake these new processes a more immersive experience

r the lmmaker.

hese developments require increased collaboration

roughout the moviemaking process, rom art direction

inal color grade. Thats why Autodesk oers a

omprehensive collection o collaborative, interactive,

nd stereo-capable digital entertainment creation tools

at help artists to work in parallel, to experiment reely,

nd to makeor changedecisions when it matters.

reating Stunning CG Content

utodesk Maya sotware has been at the oreront oomputer graphics (CG) use in the lm industry since

s launch over a decade ago and is a core component to

e production pipelines o many award-winning visual

eects studios the world over. With its powerul, highly

extensible eature set, Maya is suited to help with the

more complex modeling, animation, eects, and rendering

tasks required by lm projects. In addition, Autodesk

Sotimage sotware and Autodesk 3ds Max sotware

oer comprehensive CG toolsets that, depending on your

pipeline and production requirements, make them a greatchoice to use either by themselves or alongside Maya.

Autodesk also oers specialized CG applications to

help expand your creative capability and increase

production eciency:

Autodesk MotionBuilder sotware provides a real-

time, 3D interactive environment and outstanding

nonlinear character animation tools. It is an ideal

choice or animation-intensive productions, pre-

visualization, perormance animation, and director-

driven virtual cinematography.

Autodesk Mudbox sotware oers modelers and

texture artists the ability to quickly and intuitively

sculpt and paint highly-detailed models, and to

experiment non-destructively.

And, or even more value or money, you can get these

applications as part o the Autodesk Entertainment

Creation Suite with either Maya or 3ds Max.

Compositing: Putting it All Together

Its virtually impossible to get everything needed or the

nal rame o a lm in a single take or render. In most cases

tens or even hundreds o layers and passes go into the

nal image: actors need to be keyed rom blue or green

screen, garbage needs to be rotoscoped out, refection

need to be added, removed or tweaked, set extensionsneed to be created, and the subtle interaction between

layers needs to be iteratively rened to achieve the desire

look. Maya, 3ds Max, and Sotimage come with ully

eatured integrated compositing modules, helping acilitat

rapid iterations, and helping reduce time-consuming

round-tripping between 3D and 2D departments.

Whenever interactivity is o the essence, such as in a

look-design session attended by a director, or a nishing

session as the project approaches its nal crunch time

Autodesk Flame sotware provides the award-winnin

creative toolset that helps you to make instant changes

and experiment with multiple possibilities. From tracking

to keying, color correction to motion estimation, advance

timeline editing to interactive 3D compositing, Flame

oers a broad and rich toolset with great perormance.


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rading and Finishing: The Final Polish

lm productions reach their ull potential in the color

ading process. Autodesk Lustre sotware is an Academy

ward-winning digital intermediate color-grading system.

enables colorists to shape color and lighting to establish

arrative tone, realize creative intent, and help create

ylized looks. Lustre provides a rich, creative toolset

at can grade both standard and stereoscopic projects;

ers collaborative project management tools; and

tegrates tightly into an Autodesk Smoke sotware

Flame workfow.

ten, audiences get to see ootage graded with Lustre

ng beore a movie is completedin the orm o them trailers that are crucial to infuencing theater-goers

ecisions. These productions challenge their creators to

ab viewers attention and communicate the spirit o

e movie with whatever ootage happens to be available,

ten in an extremely short timerame. Thats a job ideally

ited to Smokeworking at K and above, acilities can

dit and conorm at lightning speed, while concurrently

ading in Lustre, and react to clients eedback in real-time.

Workow Media Management: Making your

peline Flow

s a long and complex road rom storyboard to screen,

nd data must travel through many tools along the way.

utodesk FBX technology is a widely used and supported

atorm-independent 3D data interchange solutions in

e industry todayenabling geometry, animation, andxtures to be eciently exchanged between Maya,

otionBuilder, 3ds Max, Sotimage, Flame, and certain

ird-party applications. And through its sotware

2009 U BISOFT. Photo Courtesy o Hybride and Ubisot Digital Arts.

developer kit (SDK), FBX provides an open ramework

to integrate both Autodesk and certain proprietary tools

into a custom pipeline.

Extensibility and interoperability are guiding principles

at Autodesk. From extensive C++ APIs (application

processing interaces), to integrated Python scripting,

to the Autodesk Wiretap API, helping data fow smoothly

through the production pipeline is always a priority.

District . 2009 TriStar Pictures, Inc. All rights reserved. Image courtesy o Image Engine.


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Solutions in Action

o matter what the projecta ull-length animated

ature, a ast-action trailer, the stereoscopic remake o

recent hit, a perectly blended set extension, digital

yrotechnic eects or even just idea exploration through

e-visualizationAutodesk has a great combination o

ols or the job.

irtual Cinematography

s the borders between lm and games become increasingly

urred, interactive technology has evolved to the point

here directors can manipulate virtual cameras within

xtured and lit 3D environments, populated with highly

etailed characters and props, in real timeor see their

G elements in the viewnder, while working on the

ve-action set. This has led to a new style in lmmaking:rtual cinematography.

Paramount Pictures, G.I. Joe: The Rise of the Cobra, Image courtesy o MPC.

James Cameron and his production company, Lightstorm

Entertainment, pioneered a new method or making visual

eects movies with advanced virtual cinematography

techniques. Using Autodesk Digital Entertainment Creation

(DEC) tools, MotionBuilder and Maya, the team created

a virtual stage or volume in which they could capture

actors perormances and apply them directly to CG

characters, while viewing the results in real-time. This unique

soundstage gave Cameron the ability to direct a high quality

CG perormance as i it were live action. Over the past

ew years, with the help o Autodesk sotware, we were

able to bring [James Camerons] vision to lie. On set, we

essentially created a live video game o each scene; we

could see what the movie was going to look like and make

adjustments right away, rather than waiting until post-production. This was in large part due to the powerul

real-time interactive capabilities o MotionBuilder, says

Nolan Murtha, digital eects supervisor at Lightstorm

Entertainment. The movie sets a new standard in

stereoscopic 3D (S3D) production, creating a compelling

story that is told as much in 3-dimensional space as it is in

time, drawing audiences deeper into the movie experience.

Stereoscopy

With stereoscopic 3D (S3D), lmmakers have another

opportunity to oer audiences a dierentiated, immersive

experience that goes beyond what they can receive rom

their home entertainment system.

Stereoscopic productions introduce an entirely new set

o challenges throughout the pipeline. With the ability

to create, manipulate, and view stereo content in Maya,

Flame, Smoke and Lustre, artists are able to make creative

decisions within the context o what the audience will

seehelping to eliminate guess work and resulting in a

greater ability to use stereo as an aid to storytelling.

And no one appreciates that better than Phil McNally

Global Stereo Supervisor at DreamWorks Animation SKGEither on our own or in concert with Autodesk, we can

develop tools in Maya that specifcally address the challenges

o stereoscopic 3D. Maya gives us the ability to see what

were doing in 3D while were doing it!

Fully Animated Feature Film

From the endearing cartoon-style characters oPlanet

51, to the hyper-real perormance animation oAvatar,

Autodesks lm solutions are well suited to the task o

creating the ully animated eature.

Once a storyline has been developed and characters

designed, artists can begin modeling in Autodesk

Mudbox sotwarewhile technical directors (TDs) are

developing powerul, reusable rigs; animators are

roughing out animations and setting up cameras; and

look developers are designing shaders and experimentin

with lighting set-ups in Maya. The collaborative, nonlinea

eatures in the tools help each team to rene their wor

iteratively to achieve the directors creative vision.

Maya and Mudbox proved to be the tools o choice at

Starz Animation according to director o photography

Kevin Adams, As a creative tool, Maya is extremely as

and robust, and it enabled us to previsualize and complete

very complex 3D animated sequences that involved

compositing 2D matte paintings, 3D animated element

and choreography, and mapping 3D projections ontoPIN VFX, Screen Gems, 2010 Sony Pictures Digital Inc.

l Rights Reserved. Bold Films.


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races, as well as camera moves, mist, explosions, and

ghting eects. Maya was absolutely the best solution

e could have used to create 9.

isual Efects

nly a decade or so ago some o the greatest stories on

arth were conned to books. Today, however, any story

n be told on lm. From the epic battle scenes oThe

ord o the Rings trilogy, to the universe oStar Trekand

e USS Enterprise, directors and visual eects supervisors

n ask their teams to create anything they can imagine,nd then seamlessly bring together the live action actors,

G elements, and practical components into one

yper-realistic image.

he reliability o the Inerno/SABRE system combined

ith the outstanding talent we have here virtually

uarantees spectacular results.Star Trekwas a magical

ombination o super powerul sotware and amazing

lent, says Eddie Pasquarello, ILMs associate visual

ects and compositing supervisor orStar Trek. According

animation director Paul Kavanagh, using the hardware

ndering tools o Maya, we were literally able to animate

0 shots in 5 days, a process that normally requires

onths or production.

rading

ometimes the nuances are so subtle that the audience

oesnt even notice thembut the lms that keep viewers

anet 51, the movie & the characters o Planet 51. 2009 Ilion Animation Studios/HandMade Films International/A3 Films/Lem Films & Chuck & Lem SL. All Rights Reserved.

most involved are the ones that have been cleverly and

meticulously graded by a talented colorist: a characters

ace is ever so slightly highlighted; something about the

aintly bluish tinge to the scene suggests the melancholy

o impending dusk. Or sometimes the changes are dramatic

lights that were there when the scene was shot are

removed, lights that werent are added, and their eect

on the rest o the scene is skillully simulated. Thats

where Autodesk Lustre color grading sotware shines.

According to Joe Matza, chie executive ocer o EFilm

As part o the EWORKS system, Lustre allows our artist

to work with tone and light , and to create environment

to push the story along, he explains. In the digital era

were really xated on picture quality. We love Lustre

because it gives lmmakers the reedom to tell the story

they want and gives EFilm the fexibility to evolve quickly

with each new digital technology.

Star Trek. 2009 Paramount Pictures. Star Trek and Related Marks and Logos are Trademarks o CBS Studios Inc.

All Rights Reserved. Photo courtesy o Industrial Light & Magic.


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railers

othing infuences theater-goers quite so much as a

ompelling trailer. And with many lm previews now

oduced at K or above, acilities need real-time, creative

ols to produce them. Not only do trailers have to be

eated beore visual eects, nal editing, and sometimes

ven principal shooting are complete, but they oten

ave to be produced in multiple ormatswith as ew

two or three days to turn them around. Thats a set

challenges that require some o the most ecient

olutions in the marketplace.

he concurrent workfow between Smoke and Lustre

elps maximize the time available or creative decision-

aking and renementmaking sure the audienceseep on coming.

re-Visualization

lmmakers continually strive to tell stories in a better,

ore compelling wayexperimenting with camera angles

nd shooting take ater take to nd the most appealing

ompositions within the rame. Thats why more and

ore lmmakers today are pre-visualizing their scenes

sing 3D tools like MotionBuilder and Maya.

We create most everything in Maya, and then we import

o those pieces into the MotionBuilder world, says

hris Edwards, chie executive ocer rom Third Floor

udios. MotionBuilder is a antastic tool in that it allowss to integrate live in the 3D environment. No other

ols that we have seen out in the marketplace have

at capability.

Previs is also a huge help in planning visual eects work

and stunts, making sure theres less to be xed in post

With the ilmmaking process becoming increasingly

nonlinear, its also helping directors explore creative ideas

and collaborate in rening their creative vision even ater

production has begun.

e Last Station. Egoli Tossell Film, Zephyr Films. Image courtesy o CinePostproduction.

The Woman with a Broken Nose. Neue MediopolisFilmproduktion, Filmhouse Bas Celik. Image courtesyo CinePostproduction.

French Roast. Pumpkin Factory, Bibo Films.


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Autodesk, ATC, FBX, Flame, Incinerator, Inerno, Lustre, Maya, MotionBuilder, Mudbox, Smoke, Sotimage, Wiretap

and 3ds Max are registered trademarks or trademarks o Autodesk, Inc., and/or its subsidiaries and/or aliates in the

USA and /or other countries. Academy Award are registered trademarks o the Academy o Motion Picture Arts and

Sciences. Python is a registered trademark o Python Sotware Foundation. All other brand names, product names, or

trademarks belong to their respective holders. Autodesk reserves the right to alter product and services oerings, and

specications and pricing at any time without notice, and is not responsible or typographical or graphical errors that

may appear in this document. 010 Autodesk, Inc. All rights reserved. BR0B1-00000 0-MZ41

Learn More or Purchase

Access specialists worldwide who can provide product expertise, a deep understandin

o your industry, and value that extends beyond your sotware. To license Autodesk

Digital Entertainment Creation sotware and middleware, contact an Autodesk Premie

Solutions Provider or Autodesk Authorized Reseller. Locate a reseller near you atwww.autodesk.com/reseller.

Autodesk Learning and Education

From instructor-led or sel-paced classes to online training or education resources,

Autodesk oers learning solutions to t your needs. Get expert guidance at an Autodes

Authorized Training Center (ATC) site, access learning tools online or at your local

bookstore, and validate your experience with Autodesk certications. Learn more at

www.autodesk.com/learning .

Autodesk Services and Support

Help accelerate return on investment and optimize productivity with companion

products, consulting services, and support rom Autodesk and Autodesk authorized

partners. Designed to get you up to speed and keep you ahead o the competition, these

tools help you make the most o your sotwareno matter what industry you are in.

Learn more at www.autodesk.com/servicesandsupport .

Autodesk Subscription

Autodesk Subscription gives you immediate access to sotware upgrades and exclusiv

access to service and support benets designed to help you get the most out o your

Autodesk sotware. Learn more at www.autodesk.com/subscription.

Over the past ew years, with the help o Autodesk sotware, we were able to bringJames Camerons] vision to lie. On set, we essentially created a live video game o

each scene; we could see what the movie was going to look like and make adjustmentsight away, rather than waiting until post-production. This was in large part due tohe powerul real-time interactive capabilities o MotionBuilder.

Nolan MurthaDigital Eects Supervisor

Lightstorm Entertainment

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