For those who don’t know the topic: The Visual Effects Society published the VES On-Set VFX Data Collection and Usage Guide to align on set capture and handoffs between production-side VFX, production, facilities, and technology teams. Specific DCC application support is not specified in the sources.

Webinar first, PDF later

If you would rather hear a walkthrough than skim a document, a public webinar runs May 12, 11:00 am to 12:00 pm PDT, with registration via Zoom. The session explores the guide with some of its creators and keeps the conversation in the open, where on set data questions belong instead of buried in a frantic email chain. Join Here

The guide’s job: stop the “what did we shoot” spiral

The VES On-Set VFX Data Collection and Usage Guide is a practical on-set resource that maps key data sets and capture workflows. Its goal is a shared playbook for productions, vendors, and technology teams to use and capture on-set data more effectively.

It aims to establish a common language between on-set VFX, production, VFX facilities, and technology teams, with the intended outcome of clearer communication, smoother handoffs, and better-aligned expectations across departments. In teh real world, that translates to fewer “we thought you had it” moments when the truck already left.

What it actually contains

The guide explains major on-set data sets, their capture methods, their practical applications, and intended stakeholders. It also documents both current and emerging on set data capture workflows and the choices that can impact production pipelines, timelines, and budgets. Included is a sample structure for directories, Reference Docs, ToDo Lists, Scope Definitions and many more usefull bits.

It also frames modern filmmaking as a hybrid of real-time virtual production, AI, and traditional pipelines, and the VFX department these days as responsible not only for post, but also for on-set data capture, continuity, and asset integrity from pre-production through final delivery. It seems the VFX department has become the primary custodian for management and tracking of on-set data across a project’s lifecycle. You wouldn’t trust actors with that, would you?

The boring parts that save your schedule

But on-set data has value beyond VFX. It states that data can support better informed creative and operational decisions and argues for open access and visibility so that teams across a production can engage with and benefit from shared knowledge.

One example is the cross-department logic: LiDAR scans created by VFX can be repurposed for set construction, stunt planning, and other production needs. Obvious, you’d think, but… That is the wrokflow reality check that makes the guide feel like a crew document rather than a glossary, and now we just have to get everybody to read and, ideally, understand it.

Credits, licensing, and the fine print you can actually use

The guide was developed over the past year by the VES Technology Committee. Its lead author is Sheena Duggal, with contributions from Sam Richards, Jim Geduldick, and Jake Morrison, and technical support from Jean-Francois Panisset.

The guide is licensed under the Creative Commons Attribution 4.0 International license, which permits redistribution and adaptation in any medium or format, including for commercial purposes, provided appropriate credit is given. So, no excuses for “Oh, we don’t have that, so we couldn’t follow it!”

Get the PDF here: On-Set VFX Data Collection and Usage Guide

And browse the Interactive Version here: On-set Data Specs

https://vesglobal.org/event/webinar-introduction-to-ves-on-set-vfx-data-collection-and-usage-guide-online/

https://ves-on-set-data.org/

The post VES releases On-Set VFX Data Guide first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the event: FMX is where post, VFX, and realtime folks compare notes, spot new workflows, and meet toolmakers from Foundry to AYON .

The 30th edition runs on site May 5 to May 7, with Online and On Campus on May 8, and On Demand from May 9 to June 9. Early Bird ticket options run until March 20. Tickets are sold through the ticket shop, and the full schedule is published as an online program schedule.

This year’s reveal is a broad spread across VFX, animation, and digital media creation, with more updates promised as additional speakers and topics get added. The headline message is simple: the program is live now, and it is designed to be browsed like a buffet. Get your preferred morsels here :)

RENO turns a studio inward

A newly confirmed session in the Shorts track focuses on RENO, an original sci fi short used as a live testbed for virtual production and machine learning workflows. The session names Tav Flett, Rob Hifle, James Pollock, and Paul Silcox, and describes how a traditionally post-driven VFX studio re-engineered its pipeline for a newly opened virtual production stage. It also calls out Gaussian splat scanning, automated rotoscoping, and marker removal as tools for streamlining production.

Generative video, now with shot notes

The hype cycle is almost over. The bubble tends to pop the moment somebody asks where this stuff fits into an actual production pipeline. That is the useful angle of Moonvalleys‘ session in the “The Road ahead” track. . Instead of treating generative video as a party trick, Ben Lock looks at what happens when studios try to use it for real: control, continuity, versioning, integration, governance, and all the other small details that usually kill shiny ideas on contact.

For VFX and animation teams, that is the point. Not more halfbaked sizzle reels, but a sober look at where generative video already helps, where it still breaks, which parts of the panic were never grounded in production reality, and when studios may begin hiring artists again once practical applications, and their many many limits, are easier to assess.

Predator: Badlands, built as a handoff

A joint presentation in the VFX for Features track names Laurens Ehrmann from The Yard VFX and Dominik Zimmerle from TRIXTER discussing work on Predator: Badlands. Shared assets, shared look development, and constant creative exchange across studios to ensure continuity while elevating environments, characters, creatures, and effects, plus a deep dive into selected sequences and the creative and technical challenges behind them.

And there is more to come! Much more!

https://fmx.de/en/program/program-2026/overview

The post FMX 2026 program goes live first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The Munich-based team behind Das Element has announced version 2.2 of its production-grade asset library, describing it as a strengthening of core capabilities with deeper 3D workflow support, expanded permission controls and new customisation features. The update targets environments where assets are increasingly complex and multi-file. Version 2.2 delivers a “more complete solution” for teams managing multi-file assets, offering tighter integration and automation options. The update allows studios to tailor their setup through permission-based access, Python hooks and CLI-driven automation.

Deeper 3D Pipeline Integration

Version 2.2 puts heavy emphasis on 3D library support. Entire folder structures can now be ingested (Including “The Folder where the big USD-scene lives”), displayed and managed as native assets, simplifying the handling of complex 3D project layouts that include models, materials and textures. Depending on you project, you can get Thumbnails and Turntable Renderings for the Lighting / Rendering you need in this project, without having to manually do anything or re-render previews and assets.

Artists can now treat full scenes, shader libraries and texture packages as unified entities, reducing the overhead of tracking separate dependencies. UDIM sequences are now recognised as a dedicated media type, while a new media type for 3D materials enhances compatibility with USD and texture-intensive workflows.

3D assets can now reach ANY level of complexity, covering large-scale environments, intricate material setups and multi-layered texture networks. No performance benchmarks or asset size limits are specified, so users should evaluate system performance within their own pipeline before wide deployment.

Stronger Control with Permissions

Element-level permission settings are one of the most notable additions. Studios can now define who can view, use or manage each asset directly within the library. Access can be controlled dynamically through Python hook files, enabling production-specific logic such as permissions by show, client or department. This flexibility means studios can maintain strict separation between sensitive projects or share common assets selectively without duplicating data.

Permissions can also be configured to limit access to certain user groups or workflows, a feature relevant for facilities handling client-restricted material or confidential IP. The documentation does not detail how permissions cascade across nested structures or whether change histories are logged, so studios should verify these aspects in production testing.

Customisation Through Action Hooks

Das Element 2.2 introduces action hooks: custom UI buttons that can execute Python scripts directly from the interface. Studios can extend the toolset by creating buttons that trigger scripted actions, such as sending assets to an external DCC tool, launching a review session, exporting a collection, or performing batch tagging. Or whatever else you need. Hooks can be applied to single assets or groups of elements, offering a way to embed custom behaviour without waiting for vendor updates.

This feature allows technical directors to align the library closely with studio-specific workflows, automating repetitive tasks directly from the interface.

Pipeline Integration via the command line

Version 2.2 expands command-line functionality to simplify automation and deployment. A new CLI can now create complete libraries, configurations and databases directly from the command line, making it easier to integrate Das Element into existing studio automation systems.

This feature supports full setup scripting for new productions, allowing facilities to initialise new project libraries, apply permissions, and define folder templates without manual GUI interaction. For pipeline engineers, this reduces setup time and aligns with automated provisioning workflows already common in render-farm and build systems. The press release does not specify supported operating systems or whether the CLI includes migration commands for existing libraries.

Simplified Licence Management

Licence handling receives a complete overhaul. The new built-in License Manager supports both individual and network setups, allowing users to activate via local licence files or through a central licence server. This streamlines activation, reduces reliance on technical support and speeds up onboarding. The system aims to make setup frictionless for both freelancers and multi-site studios. Details on concurrent-seat management and offline activation are not specified, so studios should review licence documentation before rollout.

Improved Gallery and Ingest Workflows

Das Element 2.2 also refines user interaction with the library. Gallery navigation is faster, supported by local image caching, clearer visual indicators and improved filter controls. Transparent regions in image previews now display against a checkerboard background, matching standard compositing conventions. During ingest, metadata can be applied dynamically as path values, ensuring imported assets follow correct naming and folder patterns automatically. Users can now assign colourspace and media type for additional files, bringing ingest metadata closer to on-set data standards. A new option lets users delete only proxies without affecting original files, providing greater safety when cleaning up preview material. Together, these refinements improve day-to-day efficiency, especially in studios that handle large libraries or multi-departmental access.

Designed for VFX and Animation Studios

Das Element was first released in 2021 and developed in Munich for professional production use. It is designed for VFX and animation studios requiring secure, offline-capable asset management. The software is used worldwide across more than 50 studios, ranging from small boutiques to large multi-facility companies. Its emphasis on stability, offline operation and flexibility makes it applicable to visual effects, commercials, games and architectural visualisation. Version 2.2 continues that direction, adding practical upgrades without altering the system’s offline-first philosophy.

Real-World Application and Outlook

Das Element 2.2 appears to mark a steady evolution rather than a radical redesign. The improvements across 3D handling, permission control, scripting, CLI and ingest workflows together form a cohesive update for studios running structured production environments. For artists, the practical benefits lie in more responsive asset browsing and simpler ingest; pipeline engineers will enjoy automation and control; supervisors thrive on better permission and access granularity; and for administrators, reduced setup complexity. The software remains modular, adaptable and focused on the real-world requirements of production facilities rather than marketing trends.

In Our Own Archive

Here at Digital Production, we rely on Das Element to run our internal archive, the Digital Production Asset Library (My long suffering drive full of various, miscellaneous and confusing stuff from a decade of tests, trials and confusion) and have done so for several years. Its offline-capable architecture, stable metadata management and flexible automation make it a practical tool for managing production data across departments. Version 2.2 strengthens that foundation. While we remain mindful of testing every new feature before adopting it in production, this release demonstrates steady and meaningful progress for this elementary toolbox!

The post Das Element 2.2: Major Step Forward for Asset Management first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

They are joined by three guests representing their distinct associations. First off, Agon Ushaku (VES Chairman of the Board, German Section) talks about the VES – Visual Effects Society. After that, Stefan Albertz (Professor of 3D Animation and Visual Effects at Hamm-Lippstatd University of Applied Sciences) represents the SMPTE (Society of Motion Pocture and Television Engineers). Completing the trio is Sonja Langhans, who is on the Board of the FKTG (Fernseh- und Kinotechnische Gesellschaft). In the News Segment they discuss Vray for Blender, Nuke 16 and Mocha 2025. You can reach us at letsfixitinpod@gmail.com

For all the different ways to listen to this podcast, check out linktr.ee/letsfixitinpod – we have Spotify, Youtube, Libsyn, Apple Podcast and More!

Links mentioned in the show

https://www.vesglobal.org/

https://www.smpte.org/

https://www.fktg.org/

https://www.movieprint.org/

FMX 2025: https://fmx.de/en/home

The post Let’s Fix it in Pod 04 Industry Societies and Associations first appeared on DIGITAL PRODUCTION and was written by Christoph Zapletal.

They are joined by Software Developer Jonas Kluger and Compositing Artist Arne Palluck. They also discuss the E.O.L of Modo, the World VFX Day, FMX 2025 as well as the latest releases of Resolve, Final Cut and Blender.

For all the different ways to listen to this podcast, check out linktr.ee/letsfixitinpod – we have Spotify, Youtube, Libsyn, Apple Podcast and More!

Links mentioned in the show

Modo End of Life License: https://campaigns.foundry.com/modo-eo…

Academy Software Foundation: https://www.aswf.io/

Das Element: https://das-element.com/

Garlic VFX: https://www.garlicvfx.com/

World VFX Day: https://worldvfxday.com/

FMX 2025: https://fmx.de/en/home

The post Let’s Fix it in Pod 03 Open Industry Standards with Jonas Kluger and Arne Palluck first appeared on DIGITAL PRODUCTION and was written by Christoph Zapletal.

Element 2.1, the latest version of the popular asset management software, has been released and brings significant new features for artists – the improvements are based on user feedback and are designed to increase productivity and optimise workflows.

Improved video controls

In Das Element 2.1, video controls have been redesigned to improve the review and validation process. Users can now define a playback span to review shorter segments of a video clip or sequence in a loop. It is also possible to step through a sequence frame by frame, as well as dynamically browse the timeline.

Faster and easier setup

The initial setup of the asset libraries has been simplified. Different presets for different setup scenarios can be selected at the touch of a button. The existing structure can be retained or all files can be reorganised. Control over storage locations and methods is now faster and more flexible than ever before.

Migration of assets

The new migration functions make it quicker and easier to move assets between libraries. Studios can create sub-libraries from the main library or return assets from a project-based library to the pool of globally shared assets.

Hierarchical tree structure per library

Finding and searching assets is crucial for a creative and efficient workflow. Element 2.1 now provides the ability to override custom hierarchy trees at the library level and search seamlessly across all assets and libraries.

Additional improvements

In addition to the major new features, there are numerous other improvements. Users can use so-called path value tokens as tags or metadata to improve the organisation and retrieval of elements. Elements without tags can now be easily found and sorted according to the number of tags. Tags are also clickable, making it easier to add them to filters and refine search queries.

For Houdini users, the new path notation “$F” has been introduced for smoother and more intuitive workflows. Technical improvements, such as a 50% reduction in installation file size, also contribute to a better user experience. In the ingest view settings, users can set custom previews for items even more easily, allowing for personalised and efficient asset management.

Pricing and licence models

Element was first released in August 2021 by a company in Munich. The software is flexible and configurable, allowing it to be used in various use cases, from high-end VFX work to commercial productions and architectural visualisations.

The Element website
Product documentation
Support forum
Download the

The post Element 2.1: Asset management for VFX professionals first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Some time has passed since our first report on “The Element” – at least in the fast-moving world of software. But now version 2.0 is available for download – and here is an excerpt of the latest features – whether it was worth the wait or whether you should simply switch your asset management to this system now is up to you.

Together what belongs together!

The outstanding feature of the 2.0 release is that the element now brings together all parts of a 3D asset – not just the geometry, but also textures. In everyday life, this means that searching for textures and their maps is now done in seconds.

Even if assets from other sources are used, they can be organised and found in a clear standard – and nobody has to try to assign sloppily named folders any more! But not only textures – render layers, normals and roughness files are also combined, categorised and made searchable.

And just to remind you: the element manages, indexes, analyses, searches and presents images, icons, image sequences, 3D assets, 3D SceneFiles (Houdini, Maya, Blender …), project files (Nuke, After Effects, Photoshop …), HDRI images, 360° videos and even PDFs.

Infinite scroller

In principle, there are not “too many assets” – but it can be difficult to find them. The new element offers a corresponding view for this: In the “infinite window” you can simply browse through everything without distraction – also good if you don’t know exactly what you want yet and just want to have a look at what’s available in the library.

As everything is AI-based nowadays, the element naturally also includes this – here in the variant that similar assets are found – be it to tidy up the database, for variations of a shot or simply because you can’t get enough of a motif, it’s up to you!

Users who have footage and plates with different elements that are similar in their initial state – I’m just saying explosions – will find the new video player handy. Within the element, you can see what happens beyond the preview frame – and rotate, flip or fold the image with just one click – and see whether the plate is suitable for the special “upside down” application.

Anyone who collects HDR spheres – and let’s be honest, who doesn’t – needs a preview where you can see exactly what is happening – which is why there is now an exposure slider for quickly adjusting the brightness. Handy for everyday use, but why don’t the other tools have this too?

Other features, such as an enhanced ingest for all possible formats, a tidier (or customisable by you!) interface, as well as better error descriptions for ingest and pipeline, and lots of bug fixes and minor adjustments are of course also included.

If you’re feeling nostalgic or want to get an overview, you can download the first article from DP 22:02 as a free PDF here . And if you want to give it a try, have a look here: das-element.com

The post A new element is here! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Assets need to be quickly accessible and follow a consistent pattern so that we can complete our creative tasks efficiently. In this article, we take a closer look at how we can achieve this and what problems need to be solved along the way.

What are assets?

In the context of visual effects, an asset refers to any digital element or resource used in the production process. Assets can include a wide range of digital files and components that contribute to the overall visual enhancement of a project. There are different types of assets that can come from different sources, e.g. from previous projects, supplied by clients or downloaded from the internet by third-party providers.

It makes sense to reuse existing assets so that we can focus on the creative part of our work. If we bring these into an organised structure now, we are well prepared and can react flexibly to future changes.
For example, some VFX companies are working on ongoing long-term projects. Perhaps a second season will be shot in the future, so it is advisable to archive previous work. A well-managed asset library can be reused across projects, saving time and money.

Another example is that more and more tools are coming onto the market that use “AI” to generate images. These models are trained using large amounts of data. The better the training data, the better the result. However, this data only becomes useful when it is put into a format that can be used to learn the machine learning models.

The types of assets range from elements such as film footage or HDR images to animation rigs and 3D models with textures, shaders and simulation caches. Each of these elements needs to be treated a little differently in terms of proxy generation. Let’s take a look at what needs to be considered and how the organisation of our asset library can be achieved.

Naming convention and folder structure

Every studio has different needs and workflows. However, the basic idea is always the same. We have a number of files that we want to store in a clear folder structure that follows a commonly agreed scheme for folder and file naming, also known as a “naming convention”.

If you work on VFX projects, this should sound very familiar. The same concept can be applied to an asset library. Certain details in the file path, such as the resolution of an element, can be helpful to get some basic information. However, it is advisable to store additional information such as tags and metadata in a separate location rather than on the file system. Similar to project management software, the asset management tool also stores most of its data in a database. As an artist, however, it shouldn’t matter where the files are located. Artists just want to interact with a user interface that contains all the information they need.

For example, by separating the metadata of files on the server, we can assign multiple categories to an item. If we tried to map this with a folder structure, we would quickly run into problems. Take, for example, a film file of a burning fireplace with lots of smoke. Do we put it in the “Fire” folder or in the “Smoke” folder? If we abstract tags and categories from the file system, we can easily deal with such cases. It is also important that files are not renamed once they have been added to the library. This prevents the media from no longer being found when older project files are opened.

Single file vs. sequences

Another issue related to the naming convention is the way the file is named on the server. We are often dealing with file sequences that contain the frame counter in the file name. On the other hand, there are film files that do not need this frame counter. Images taken with a DSLR camera also have sequential naming, but the individual images may not be related and must be considered as individual files. In other cases, however, they represent a sequence, such as bracketing images of an HDR or a stop-motion animation.

Unfortunately, it is not always clear which scenario we are dealing with. Therefore, it is complicated to automate this task. At this point, we still need the user’s input to tell the asset library how to handle each of these cases. If we add an asset (e.g. a matte painting) to the library that contains a framecounter in the filename, we may want to remove the framecounter as we no longer need it and to indicate to the artist that it is a single frame. In other cases, we may want to keep the frame counter, even if it is a single frame. Unfortunately, there is no clear
Answer to the question of what is the best solution in these cases, as it very much depends on the company’s pipeline and workflows.

Example for single files:
movie.mov/img_1001.jpg
Example for a sequence:
img.1001.jpg/img_1001.jpg

What is the exact file name of an element? There are different names for files, which can vary depending on the operating system and software application. We suggest the following name:

img_1001.exr

Base name: img
Stem Name: img_1001
File Name: img_1001.exr

If the assets come from our internal VFX pipeline, in most cases we want to remove the frame counter and any subsequent characters such as dots, hyphens or underscores to get the actual base name. If the images come from a DSLR camera, we expect the file name to contain the frame number of the image (img_1234). If this were not the case, the files would all have the same name (img) and we would no longer be able to tell them apart.

In most cases, we want to recognise and display a warning if images are missing in a file sequence. With UDIMs (U-Dimension – more on this at FXGuide under is.gd/fxguide_udim), however, “missing frames” are permissible, as the neighbouring tiles are not named consecutively (texture.1001.exr, texture.1011.exr, etc.). Here too, the user must tell the software how to handle this scenario.

Category vs. tags

We want to have different options for a detailed search for elements. This is where tags and categories come into play. These are the keywords that artists will use to search for assets.
This process is similar in every studio. The reason we want to differentiate between all these categories, tags and synonyms is so that we don’t have to reinvent the wheel every time a studio wants to improve their asset management. Also, by using pre-defined terms, we can avoid duplicate tags and misspellings to keep our systems and databases clean. There is no need for two tags if they both describe the same thing. For example, singular or plural terms are often one and the same, so we can avoid unnecessary duplication.

Category: Categories are fixed classes that are constant and do not change. A category is a class or subdivision of things that have certain common characteristics, such as fire, smoke or explosions.

Tag: We can use as many tags as we want to describe an asset. A tag (sometimes called a label) is attached to a person or thing to identify it or to provide additional information. They can be considered dispensable, i.e. “the more the merrier”, to describe an asset in as much detail as possible. Tags can indicate what you see, e.g. smoke and fire, but also descriptive information such as the amount, direction and speed (“fast approaching the camera”).

Synonyms – same same but different

The beauty of the VFX industry is that we come together from all parts of the world. From this connection, we want to develop a common vocabulary that unites all our languages. The asset library software “das element”, for example, uses descriptions and synonyms for each category from a publicly accessible knowledge database.

Wikidata ID

Behind every Wikipedia page is a specific Wikidata entry with a unique Wikidata ID. The advantages of using data from this publicly accessible knowledge database are additional information such as descriptive texts, synonyms and translations into different languages.
Because each category can be linked to a unique Wikidata page, we can create a common understanding and vocabulary of what a particular category is called. No matter where you’re from or what language you speak, you’ll have no trouble finding the perfect item.
Wikidata (wikidata.org) is a centralised data repository for the various wiki projects. The Wikidata ID for each category looks something like this: Q3196 – This text is an identifier (ID for short) that can be used as a link to a human-readable text in the Wikidata database.

Tree diagrams of the category hierarchy

Since most category names such as smoke, fire and explosions are known to all artists around the are known to all artists around the world, the asset library software “das element” has developed a system that emphasises the importance of this terminology. On the one hand, the hierarchy tree is structured according to the actual order of the categories. on the other hand, it is optimised for the vocabulary commonly used in the VFX industry. One concept is to organise everything into super-categories, which makes the most sense for grouping certain types of elements such as fire, smoke or explosions.

As each category is linked to another, we can visualise the relationships between the categories to create an ontology and a knowledge graph. This can help us in the future not only to find similar assets that are currently available, but also to develop future solutions based on machine learning.

Assets

Let’s now take a look at the assets themselves. The source files can be in different file formats and file types. The spectrum ranges from old film Old film scans such as Cineon or DPX, to modern file formats that are not yet supported by most software applications, to anything that can be found on the internet Internet. In an ideal world, we get everything in the same file format and with the same colour space. We don’t want artists to have to deal with these things. Unfortunately, that’s not the case, and achieving this is one of the biggest challenges to overcome. It’s best to save everything in the same file format and colour space. This will make it easier for us to batch process all files in the future when newer systems like USD and MaterialX are integrated into our pipelines.

Today, a good solution is OpenEXR with the ACES colour space. Converting video files into image sequences makes it easier for artists to use, as each sequence can start with the same frame (e.g. 1001). But be careful! This increases the amount of memory required. This must be taken into account for larger libraries or if we want to store everything in the cloud.

For a quick preview of assets, we also want to create proxies or, for example, a rendering of a turntable. We want to get an idea and preview of what is happening in a large film or project file without having to open it. This speeds up the work process without having to wait for a large file to be loaded with the appropriate software.

In some cases, a project file is an older version of software that a studio may no longer have a licence for. Or maybe the file is stored in an archive on a LOT of tapes and you’re not sure if it’s even usable. A good preview can save money, time and a lot of headaches.

The preview can have a lower resolution, for example an 8-bit image like a plain JPEG (or a newer version like HEIC) with Rec709 colour space. For video files it was common to use the H264 codec in a Quicktime container (.mov). There are some new codecs that require less file size with better quality. E.g. HVV (also known as h266) or AV1. Please note that newer codecs may not yet be supported by all applications and operating systems.

Version & Iterations

You should consider how to deal with different versions and variants. An example of different versions would be a recording of a green screen. Version 0 (version zero) could be the original material, version 1 would be the first key. In some cases, you might want to rework the previous key due to new keying techniques or something similar. Now another artist will render a new sequence, which is called version 2. Similar to versioning renderings of VFX shots, this concept can also be applied to an asset library.

Variations can be different resolutions for a 360° HDR image that is available in 4k, 8k or 16k resolution. They all have the same content, but in order to work more efficiently, we want to switch between the different resolutions. However, variations should not be confused with proxies. A proxy for an HDR image can be an 8-bit jpg file, while the variations are still an .exr or .hdr file. The same applies to different LODs (Level of Detail) for 3D assets.

Metadata

Often we want to store any additional information about an asset, e.g. the lens an element was shot with. If we are archiving it for current projects, we may want to store data from our project management software, e.g. the name of the show, the artist or the location of the studio that created this asset.

When purchasing assets from the internet, it is also important to store the relevant licence information with the asset. Years later, no one may remember if you are allowed to use this asset for another project or if there are other restrictions you need to be aware of. Depending on the file type, the amount of metadata that can be linked to a file is limited. By storing the metadata in a database, we can store as much information as we want.

UUID & ULID

When managing assets from multiple studios within an organisation, we want to keep track of when, where and by whom an asset was added to the library. Using the asset name can lead to problems, as names such as “fire_0001” can occur multiple times in different studios.
We can therefore use so-called universally unique identifiers (UUID – is.gd/wiki_uuid) to differentiate between the various elements. These randomly generated IDs are temporally and spatially unique (depending on the version used) and we can trace back when and from where an element was entered. If we store these IDs in the database, it is also advisable to take a look at ULID (Universally Unique Lexicographically Sortable Identifier – more on this at github.com/ulid/spec). The big difference to UUID is that the timestamp is the front part of the ID, which makes the IDs alphabetically sortable. This can increase the performance of database queries.

Automation

Automation is great. However, there are some specifics that need to be considered. One of the biggest problems with automation is human error and the naming of source files. If a file is misspelled, it is difficult to find a solution with a Python script to catch certain errors. Example: T_Grass_Sppecular.png with the word “Sppecular” with two “p” instead of “Specular”. Or the spelling error “Rougness.png” instead of “Roughness”.

Another problem is that the frame counter can change in a continuous image sequence. For example, from 3 (999) to 4 (1000). This often happens with sequences that are rendered by Premiere Pro or After Effects. In most cases, these frames belong together, but this is not always the case.

Name.998.exr
Name.999.exr
Name.1000.exr
Name.1001.exr

It is also important to recognise corrupted files before adding them to the asset library. When buying assets from the internet that come in ZIP files (or copying a ZIP file), the extraction may fail without anyone noticing and we end up with file sizes of 0kb. A simple file size check should help to detect such cases. Some helpful tools are node-based systems that can be used to create automation pipelines. For example: Gaffer(gafferhq.org), NXT(is.gd/git_nxt) or iograft(iograft.com).

3D assets

Creating an asset library for 3D assets is a complex undertaking with many hurdles, and let’s face it, it’s a lot more work than organising 2D elements. There are a few software solutions for 3D asset libraries, such as Quixel Bridge(quixel.com/bridge) and Kitbash Cargo(is.gd/kitbash_cargo). These tools work great because they use an already organised structure in the background from the vendors and their variety of assets. Using these systems is only possible as long as you stay within their ecosystem and don’t want to worry about where and how the files are stored on your hard drive.

If you need more control or want to organise assets from a different source, these systems no longer work as you have no control over the database. Again, we need to find an alternative and generic solution that gives us the flexibility to add any asset type.

Technology

If you have already gone to the trouble of organising everything, you should also consider doing this just once and being well prepared for the years to come. It’s worth researching what options USD and MaterialX offer.

The 3D models come with different types of textures. These are often named differently, even though they represent similar things. Here too, it is recommended to structure and standardise everything so that it follows the same pattern. This makes it easier for artists to use the asset.
A 3D scene purchased from the internet can either contain a single object with associated textures or multiple assets with variations, e.g. different shapes of pipes that can be used for kitbashing. The supplied folders contain multiple textures, often with cryptic names and different resolutions such as 2k, 4k, 8k.

Organising all these files into a clear structure can be a tedious task, but will save artists time in the long run. Splitting assets into individual files can help us speed up the process. However, the initial time required to set it up needs to be considered. To be honest, most of the elements may never be used again in production. On the other hand, valuable time is saved in the crunch time if the assets are well organised
are well organised. If you have the time and resources, it is advisable to take care of the assets and organise them properly.
Experience has shown that the only way to automate this step is to use (Python) scripts to extract certain search terms and assign the texture files to the corresponding texture channels. In the script you can create some rule sets to process the files in a batch process.

Additional files and previews

It is worth creating previews of 3D assets. This way the artists can find them faster and get a simple preview. Otherwise you spend too much time starting the 3D software only to realise it was the wrong file. A simple and less elegant way is to take a screenshot of the viewport to get an idea of what a particular 3D file contains.
A more sophisticated approach would be to create 3D models with low resolution and textures. Sometimes it is necessary to look at a model from a different angle to check whether it is useful for the current task.

Useful file formats are USDZ (is.gd/usd_usdz) and GLB (is.gd/gltf_glb). USDZ is a variant of USD, with the major difference that all textures are merged into a single file, which makes it easier to manage the files on the server. An alternative is GLB (as a variant of glTF), which is already widely supported by web browsers and other applications.

The big challenge could be to create a low-resolution version of the 3D model or scene. For large scenes, it is often not possible to automatically reduce the polygons of the 3D files as well as the textures/shaders without artists having to edit the scene manually. Again, it’s a question of time and resources and what effort you want to put into the library. There are some tools like InstaLOD(instalod.com) that can help with exactly this task.

Scale of the scene

When adding new 3D assets, it makes sense to standardise the scaling for all assets. It doesn’t really matter which scale you choose, at least it should be the same for all files. Some studios choose a scale of 1:10 (1 unit = 10 cm).

Textures

Similar to OpenEXR sequences of 2D elements, using proxies for texture files allows you to quickly display a specific layer. The texture files can be small jpg or png files, but can also be several gigabytes in size if you are working on high-resolution textures for feature films. It is therefore advisable to familiarise yourself with the open standard MaterialX (materialx.org). The aim is to solve the problem of assigning shading and textures to the corresponding geometry. This approach can be useful if you want to be optimally equipped for 3D in the future.

Caches

There are other additional files such as cache or VDB files that need to be saved along with the assets. In some cases, you may be tied to a specific proprietary software. However, studio workflows change over time and certain software packages may become obsolete. Again, it’s worth looking at open source file formats that aren’t dependent on a specific software to build a sustainable asset library for years to come.

About das Element

The asset library software “das element” was first released in August 2021 by a software company based in Munich. Rather than using one of the existing software solutions that are broadly tailored to as many needs and industries as possible, “das element” is customised to the requirements of VFX studios.
Years of experience in building and maintaining asset libraries have gone into the development of this software.

The focus is on combining the above concepts and taking care of the problems you will encounter when building an asset library. Developed to the highest industry standards, the software works completely offline and is therefore ideally suited to the stringent security measures of feature films and television series. Due to its flexibility and configurability, it can be used in a wide range of applications. From high-end visual effects work to fast-paced commercial productions and even non-VFX related projects such as games or architectural visualisation. If you want to start managing your asset library, you can find more information at: www.das-element.com

The post Hitchhikers Guide to … asset libraries? first appeared on DIGITAL PRODUCTION and was written by Jonas Kluger.

In nuce: order is half the battle – and the other half is disorder, right? Whether it’s organised chaos or chaotic order, there comes a point for every VFXer when the jumble of assets cries out for a structured filing system. It may help that the latest version of Das Element has been released (stylised spelling: das element). Version 1.2 of the VFX Library software has been released. This is according to a recent press release. According to the Munich-based developers, the implementation of version 1.2 focussed on user-friendliness – especially with new functions relating to teamwork.

New functions: The following functions are among those highlighted by the developers. In a separate video, Jonas Kluger, founder of and mastermind behind Das Element, provides an overview of the new features (see below).

• Shopping Cart / Collections: This allows elements to be shared with team members. Users search through existing libraries and bundle the desired elements within a collection. Collections should make lengthy searches for elements a thing of the past.
• The Sphere Viewer has been added within the HDR Sphere Organiser function. The Sphere media type has been added for this special type of panoramic image.
• In addition, API support for Python 2 and 3 is now available. Well thought-out documentation including sample scripts is included.
• Collections of elements can be organised in a user-defined folder structure. Each user can create their own collections and favourites. These can be made public or set to private.
• The user interface has been improved in many areas – for example: new filters, customised multiple selection, new shopping cart function, and more.

Click further: All further information on The Element. We last reported on asset management from Munich on 25 March 2022 , when version 1.1.4 of Das Element was released.

das element | VFX library software | version 1.2 – feature overview

The post The element appears in version 1.2! first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: According to a recent press release, version 1.1.4 of the Munich-based management software “das element” has now been released.

What is “das element”? The developer describes “das element” as a VFX library (library software) that allows you to set and organise your visual effects assets using a keyword system. The software is designed to work across platforms and provide VFX studios with exactly the tools they need to organise complex, effects-driven productions. Artists should find it easy to familiarise themselves with the software and keep everything in order.

What does version 1.1.4 offer? According to the press release, the features that await you with element 1.1.4 are summarised below:

• Improved user interface
• The software is now even more stable in operation than before
• You can now customise the thumbnail images of your files. With the new function, a meaningful thumbnail is created based on the respective file, thanks to which you should be able to recognise which file it is at first glance
• The range of file types that you can enter and edit has been expanded. For example, you can now also import PDFs, but you can now also edit templates and (project) files from Nuke, After Effects, Illustrator and InDesign
• A file-based database can now be used on servers. This should reduce the need for IT support. It should also make it easier to install “the element” on systems
• The new rating system allows you to group components of your projects even more meaningfully.

Click further: Anyone looking to get started with “das element” can follow the detailed video tutorials on the software ‘sYouTube channel . It can also be useful to browse through the corresponding documentation . You can find the official website at das-element.com.

Read on: By the way: In our latest print issue, DP 02 : 2022, you can look forward to an in-depth interview with Jonas Kluger, the founder of “das element”. You can find the article entitled “Element-ares Asset Management” on page 10.

The post Version 1.1.4 of “das element” released! first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.