television brochure

8/8/2019 Television Brochure

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Autodeskn Television

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nal Cut Pro or Avid workfows, Smoke helps you

crease production quality and value, delivering better

V content in less time. Smoke is now also available on

e Mac OS X operating system.

utodesk Flame sotware or visual eects design gives

tists the power and fexibility to tackle complex shotsgainst tight deadlines. Flame is designed to help artists

xperiment reely, test creative concepts quickly, and make

stant changes. With one o the most comprehensive,

gh-perormance creative toolsets on the market today,

ame can give you the competitive advantage you need

make your content truly stand out.

nd with Autodesk Flare sotware, a ully compatible

eative companion to Flame, acilities have greater fexibility

add capacity to their pipelines as they need it.

olor Grading: Immerse the Audience

ith DTV and HDTV consumption growing, audiences

xpect high-quality content. Color grading helps you

nhance the look and eel o your TV projectsrom

ommercials to sitcomscreating mood and engaginge audience at a deeper emotional level. Autodesk

ustre sotware helps you shape color and lighting to

esign stylized looks and to establish a richer visual

age courtesy o Ministry o Illusion.

narrative and tone. For both mono and stereoscopic 3D

production, Lustre provides a rich, intuitive toolset that

integrates tightly into a Smoke and Flame workgroup.

Workfow Media Management: Make Your

Pipeline Flow

The path rom concept to TV screen is complex withextensive collaboration required between the dierent

production and post-production teams. A pipeline based

on Autodesk toolstaking ull advantage o shared

inrastructures, rich data assets, and cross-product

interoperability through open standards (or example, FBX,

AAF, XML), enables creative proessionals to ully

collaborate, explore, share, and realize their creative vision.

Flame, Smoke, and Flare oer 100 percent data

compatibility, enabling visual eects artists and editors

to share setups or multilayered eects. And with Lustre,

the colorist can work concurrently on the same media,

grading shots or the editor or visual eects artist. At

the same time, 3D geometry, animation, and textures

can be easily exchanged between CG, editorial, and

nishing via Autodesk FBX technologyone o themost widely used and supported platorm-independent

3D data interchange solutions in the industry today.

Flame, Smoke, and Lustre also integrate well into third-

party workfows through extensive support or industry

standard interchange ormats such as MXF, AAF, and

XML, and popular digital media ormats.

Image courtesy o Four Nines.


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Solutions in Action

ommercials

ith only 0 seconds to grab viewers attention and

onvey the clients message, agencies creating television

ommercials need to provide maximum visual impact.

he goal is to make something so compelling that instead

hitting the ast-orward button, viewers actively seek

ut the spot.

he New York studios o renowned visual eects house

moke & Mirrors (SMNY) did just that when they took

n the challenge o bringing to lie the cover art rom

he Beatles Abbey Road album or spots promoting aew MTV game, The Beatles: Rock Bandvideo game.

o pull o this incredible illusion, Smoke & Mirrors turned

Autodesk solutions Flame, Smoke, Flare, Sotimage,

nd Maya.

tensive visual eects were needed to match archival

otage o the Beatles, taken at dierent times in their

reer, to the album cover. Visual Eects Supervisor Nic

eresin explains:

his meant using heavy camera tracking, distortion,

toscoping, and virtually every Flame tool we had to do

e head reps and take moustaches, beards, and extra

air and grat them onto the Beatles heads, while

onsidering underlying subtle acial movements. Theusion had to be totally credible because viewers would

now i it rang true or not.

he team also used Flare directly on set, running it

n a laptop, to evaluate each take to determine i the

ects would work.

lare impressed everyone who witnessed how it brought

ame capabilities to the set, says Simon Hester, head

ngineer at SMNY. Back in the studio, it works seamlessly

ith our Flames and the other Autodesk systems in

ur powerul, ecient pipeline. There was no way we

ould have achieved what we needed to on this project

thout Flare.

rimetime Episodic

om Heroes to Red Dwarf, audiences increasingly expect

m-quality visual eects on TV, but production schedules

nd budgets remain limited. Many post acilities are

rning to award-winning toolsets that have helped

ing new eciencies to creating the most successul

ms around the world.

ustralia-based visual eects and post-production training

ompany xphd is one example. When Doug Naylor,

eator o the UK comedy series Red Dwarf, elt it was

me or a comeback or the cult 80s show, he turned to

phd or help. The result was a three-part 90-minute

ini-series, packed with 262 eects shots. Timerame

r delivery? Just 27 days.

orking with ootage shot using the RED ONE camera,

e artists at xphd and at Fin Design posted, nished,

nd delivered Red Dwarfaccording to a ully digital Flame

and Maya workfow. Mike Seymour, one o xphds ounders,

explains how Flame helped the teams nish on time:

The system is so ast, fuid, and graphical that experienced

operators can go through complex compositing shots at

an astonishing rate. Flame is unbeatable.

Autodesk technology also enabled the team to replace

much o what had been previously constructed as physical

sets with CG models. Using Maya or all the virtual sets,

big background environments, and character animation,

3D data rom Maya was then passed into Flame.

Seymour explains:

It was a seamless pipeline that worked incredibly well.

We couldnt have considered using anything else but

Maya or this project.

All o this added up not only to a more impressive look

or Red Dwarf, but also to better comedy. As Seymour

concludes:

Because the shots were so believable, we could make

them a lot unnier without getting cheesy. All o this

made the project the most creative and proessionally

rewarding Ive ever worked on.

Evian Skating Babies, BETC Euro RSCG, Image courtesy o MPC. Image courtesy o UVPHACTORY.

Image courtesy o Gravity Rhino Group.


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hildrens Programming

s parents know, children can be demanding in their

stes, especially when it comes to animation. It takes

eat stories, with un, engaging characters and eye-

opping imagery, to keep the attention o todays easily

stracted kids. And, as always, all o this has to be

chieved on a tight budget.

m Hensons Creature Shop, the company behind such

ell-loved avorites as The Muppets and Fraggle Rock,

nows all about that. Over the last ew years, the company

as been perecting the Henson Digital Puppetry Studio,

proprietary system that makes ample use o Autodesk

aya and mental ray rendering sotware. Simply put,

e digital puppetry process combines 3D virtual

nvironments and eects with advanced motion capture

chniques to help capture the perormers body

ovements as well as voice-synchronized acial puppetry

a single, real-time scene.

esigned to encourage curiosity and promote an early

terest in science,Sid the Science Kidis the rst complete

ries to be created using the system. The series consists 40 episodes o digitally puppeteered perormances

ptured on a virtual stage and in real time:

Were using Maya in a truly real-time production setup,

ollowing a live action paradigm, says Steen Wild, visual

eects supervisor. Thats denitely new.

Image courtesy o Cutting Edge.

age courtesy o Speak Easy FX.


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roadcast Graphics

the individual long- and short-orm programs are the

al substance in a stations output, broadcast graphics,

ch as branding, promos, and bumpers, are the glue that

rns them into a cohesive, recognizable oering. To keep

em resh, relevant, and attractive, they are continuously

pdated, with multiple versions o each campaign

sometimes in a number o languagesco-existing at

ny time.

t Zee Networks operation in Mumbai, India, 12 Smoke

tists work in shits around the clock to create a cavalcade

promos, program openings, and other broadcast design

ements or the more than 40 channels that Zee Networks

elivers to more than 500 million viewers in over 167ountries. Despite this heavy workload, each promo is

sually rereshing and a distinctive artistic gem that

ntertains viewers while dening each channels unique

entity and programs.

We have ound innovative ways to use Smoke as a ast ,

pable broadcast graphics machine; and when people

e what were doing, theyre really dazzled by the

twares unsung graphics capabilities, says Vipul Bhalala,

eative supervisor and Smoke artist or Zee Networks.

moke is eature-rich, user-riendly, interactive, and

stwhich helps our artists and designers realize their

eas more eectively and deliver the highest possible

uality and productivity.

BC Winter Olympics, Image Courtesy o Studio AKA.

Image courtesy o Zee Networks.


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Autodesk, ATC, FBX, Flame, Flare, Lustre, Maya, MotionBuilder, Mudbox, Smoke, Sotimage, 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.

mental ray is a registered trademark o mental images GmbH licensed or use by Autodesk, Inc. Mac OS is a trademark o

Apple Inc., registered in the U.S. and other countries. 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 pricin

at any time without notice, and is not responsible or typographical or grap hical errors that may appear in this document

2010 Autodesk, Inc. All rights reserved. BR0C1-000000-MZ01

Learn More or Purchase

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

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

Digital Entertainment Creation sotware, contact an Autodesk Premier 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.

Smoke is eature-rich, user-riendly, interactive, and astwhich helps our artists anddesigners realize their ideas more eectively and deliver the highest possible quality

nd productivity.

Vipul BhalalaCreative Supervisor/Smoke ArtistZee Networks

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