Archive translation. Specifications, services and availability reflect the original publication date in 2022. Verify current compatibility before production use.
In brief: Digital Production 03:2022 brought together training, rendering, editing, colour, real-time production and project reports for VFX artists.
Issue highlights:
- Training focus: Modellers, colourists, compositors, animation artists, motion designers and technical directors describe their jobs and routes into the profession.
- RenderMan series, part two: Installation of the Houdini and Maya renderer leads into Alexander Weide’s practical work on a Le Creuset commercial.
- Editing and colour: Premiere and Lightworks share the editing section, Resolve provides an introduction to grading, and a separate article examines Premiere-to-Resolve round-tripping and archiving.
- Unreal Engine 5: Cornel Hillman surveys current developments in a twelve-page article, followed by an interview with filmmaker and concept artist Aaron Sims about his science-fiction short The Eye: Calanthek.
- USD and Solaris: Digital Domain discusses its lighting pipeline and visual-effects work on Spider-Man and Doctor Octopus.
- Project reports: The issue covers the FMX trailer Burned, tyFlow, the student short Coffee Break and production work on The King’s Man.
Training in context: The annual “What does a … do?” section was intended for readers preparing portfolios and applications for university courses, as well as artists considering VFX career paths.
RenderMan in practice: Part two of the series installs the Houdini and Maya renderer before applying it to Weide’s Le Creuset spot. The articles appear on pages 98 and 108.
Editing and grading: Premiere, Lightworks and Resolve form a compact editorial focus. A later article tests round-tripping between Premiere and Resolve, including project archiving.
Unreal Engine 5: Hillman’s twelve-page technical overview is paired with Sims’s two-page interview about real-time filmmaking. The section begins on page 84.
Student productions: Graduates and students at Filmakademie Baden-Württemberg created the FMX trailer Burned, translating burnout into a woodland metaphor. Coffee Break, produced at Lucerne University of Applied Sciences and Arts, follows a cat leaving its comfort zone. The reports appear on pages 6 and 114.
Feature-film work: RISE compositor and supervisor Rayk Schroeder explains how the Berlin and Munich teams approached The King’s Man. Digital Domain then details a USD and Solaris lighting pipeline for Spider-Man. The reports appear on pages 50 and 76.
Browse the issue: Digital Production 03:2022 contains the complete selection.
About the author
Topics
Workflow748 postsKeep the handoffs from becoming cliffhangers. Explore pipelines, collaboration and production practices that connect people, applications and assets, making room for creative work between the deliveries and revisions.
Pixar RenderMan74 postsA scene has many ways to catch the light. Explore RenderMan shading, rendering and pipeline developments, following the tools that help carefully built worlds make their journey into finished pixels.
Unreal Engine513 postsWalk into the scene while it is still taking shape. Explore Unreal Engine realtime rendering, virtual-production and world-building workflows that bring immediate visual feedback into increasingly varied creative projects.
Article details
- Published
- Author
- Patrick Poti
- Reading time
- About 2 min
- Word count
- 377