Can a Visual Effects studio survive only on film work? “Absolutely not!”

Scott Ross is an important part of the history of Visual Effects. He was manager at ILM, Senior VP at Lucasfilm, Chairman & CEO of Digital Domain and one of the Founding Members of Visual Effects Society. He summarized his experiences and a part of the industry’s history in his book “Upstart”. In our episode we trace a line from the cloistered halls of ILM and Lucasfilm through the founding of Digital Domain, across the rise of digital pipelines and into today’s inflection point of Agentic AI.

Scott’s path into film wasn’t linear: Music studies, audio engineer, then Bay Area post with One Pass before Lucasfilm recruited him. When he arrived at ILM in the mid-1980s, the reality contradicted the Oscars on the shelf: ILM was losing money and morale was low. The corporate layer above him prized brakes and cost cutting over progress and acceleration.

Scott sketched ILM at a crossroads. The facility’s reputation masked cashflow issues and a flattening culture. His first months were spent earning the trust in a “Hell’s Angels”-tight shop that viewed him as a young “video” guy; an outsider. Once in, he ignored the brake pedal people and ran ILM as if it were his own: Buying new gear, fixing the org chart, restoring transparency and diversifying revenue to smooth the feature-film boom-bust cycle, opening up opportunities for commercial and location-based attractions.

Soon after he found himself on a crossroad to either stand behind his team and support their efforts for a fair compensations and bonuses that they were promised or accepting the games at play. Waging his job for what he believed was right he found himself looking for another job. The problem was that he was the general manager of one of the biggest visual effects studios on the planet, no one else wanted to replace their GM while Scott’s reputation wasn’t of someone who played the cooperate games.

“A fixed contract to do something that’s never been done before, giving the facility all of the responsibility and none of the authority, is a model of madness.”

Scott Ross

Three-legged stool

Over the years Scott defined the concept of the “three-legged stool” as the key ingredients of a successful business. Remove even one leg and the shop tips and the business fails. The three legs consists of:

• Technology: Technology is the key to staying relevant in quality and production speed. ILM’s analog-to-digital pivot foreshadowed today’s shift toward AI-assisted craft.
• Finance: A diversified revenue is key for any business but especially for visual effects as there are only a handful of production houses. From commercials, attractions, episodic productions to visualisations those had different field while often have better margins.
• Creativity: Keep the core creative decision-makers close to the tools, but align authority with responsibility. Scott’s ILM anecdotes reveal how often errors are organisational rather than technical.

“Follow your bliss, but be brutally honest about your lane, and plan your rent. You can’t survive without profit. If it doesn’t make money, it’s not a business.”

Takeaways

Scott’s stool test is still the fastest sanity check for any show or facility. If technology dazzles but cash burns, the shop tips. When finance is tight but creative authority is outsourced, the frames suffer. If creativity is strong but tech lags deliverable specs, you ship compromise. The “fixed bid for the impossible” contract structure is as dangerous now as it was then. As AI moves from assistive to agentic, we need to write scopes, schedules, and authority trees that assume fewer hands on more decisions and still protect image integrity and human sanity.

Finally Scott warned against believing one’s own hype: if you want to be a core storyteller, develop those muscles; if not, your skills will be valuable across medicine, manuals, advertising, and beyond, especially as visual communication saturates every industry.

Do you want to read this for yourself? The Book “Upstart: The Digital Film Revolution. Managing the Unmanageable” by Scott Ross and Joanne O`Brien-Levin.

The post “A Model of Madness” Scott Ross Why VFX Fails as a Business first appeared on DIGITAL PRODUCTION and was written by Alexander Richter.

At FMX 2025, we had the opportunity to preview Pulze’s RenderFlow 1.0, a network rendering and automation tool designed for studios of all sizes. Built with artists in mind, RenderFlow combines an intuitive interface with powerful workflow features, maintaining the robust IT controls needed in professional environments.

RenderFlow supports job submission for 3ds Max, Blender, Fusion, and V-Ray Standalone, with plans to add support for Cinema 4D, Maya, Arnold, Nuke, and Houdini. The tool offers a comprehensive job submission experience, supporting a growing number of common 3D and post-production packages.

Node monitoring is a key feature, allowing users to oversee workstations and render nodes, monitor performance metrics, and track installed 3D applications and plugins through a simple interface. RenderFlow also automatically generates utilization metrics and rankings from jobs, transforming data into insights.

Job Templates, Idle Detection and Automation Tools

RenderFlow 1.0 also introduces automation-friendly features for studios looking to integrate rendering tightly into their pipeline. The built-in Public API enables studios to plug RenderFlow directly into existing workflows and proprietary pipeline tools. For job consistency, users can create and reuse job templates that store predefined render settings, submission configurations, and notification preferences—cutting down on repetitive setups and human error.

One of the more clever additions is the idle detection system. When enabled, RenderFlow monitors workstation activity and automatically repurposes inactive machines into render nodes. It’s an elegant way to squeeze more power out of a studio’s existing hardware without any manual input—or staff chasing down who left After Effects running in the background. Paired with the Sanity Check system, which validates files and scenes for common mistakes before submission, RenderFlow helps avoid those classic 3 a.m. render fails.

RenderFlow integrates with Pulze’s Scene Manager (3ds Max only), enabling users to submit multiple jobs from a single file with one click. A mobile app is in development, promising remote monitoring and job tracking capabilities. The software has a trial version, and a low annual price of 99€, and we have no idea if that is the final price, or subject to change.

Render Manager is now deprecated, and existing users can transfer their subscriptions to RenderFlow at no additional cost. As always, it’s advisable to test new tools thoroughly before integrating them into production workflows.

Compatible Hosts

For more information, visit Pulze’s RenderFlow page.

The post RenderFlow 1.0: Pulze’s New Render Manager Steps Up first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

It’s important to communicate your needs and expectations well and demonstrate that you’re the right candidate for the job. Let us guide you to a successful career in the industry by sharing my experience and knowledge.

With my coaching, you can overcome any negotiation anxiety and present yourself as the ideal candidate for the job and get the right contract for yourself. Check out our contract negotiation coaching to get guidance in your future negotiation for better contracts and higher salary.

The post TD Meetup 17: Contract Negotiation first appeared on DIGITAL PRODUCTION and was written by Alexander Richter.

Digital Production, in cooperation with Evans Research Associates, launches a market analysis on the changing needs of german video software users. The study targets professionals who use video tools regularly—yes, that means you, editors, cutters, A/V-pros, colorists, compositors, and DiTs in Germany. Evans Research, an independent market research firm, handles the execution and confidentiality of the study.

>> Go directly to the Questions (In German)

The full survey takes approximately 12 minutes, depending on your responses – it is focussed on german editors. To sweeten the deal: if you belong to the target group and answer all questions completely, you’ll receive a €15 Amazon.de gift card—provided you’re one of the first 250 participants to complete it. No mouse-clicking marathons required, just honest answers and maybe a little caffeine.

This isn’t a pitch for shiny new toys. It’s an attempt to understand how real-world users—from editors to post houses—actually use their tools, where the pain points are, and what needs fixing. As always: don’t base current production decisions on early trends. Let the data bake first.

Click, Answer, Forget

The survey data will be aggregated and anonymised. No personalised results, no separate reports. Just grouped results for a broader picture of what the industry’s up to. The details on how your data is treated can be found here.

>> To take part, click here. If you already took the survey, ignore this—and feel smug.

What’s in it for you (besides a probable headache)?

Besides the guaranteed €15 voucher for the first 250 eligible participants, there’s a prize draw with the following Amazon.de gift card goodies: One €500 voucher, two €200 vouchers, five €80 vouchers and twenty-five €20 vouchers. So even if you don’t make it into the fast-responders’ club, there’s still a chance to win. If you happen to be screened out after the initial questions—because you’re not the intended target group—you’re still automatically entered into the draw. No one walks away empty-clicked.

Final Clicks

Click here to join the survey. Get your voucher. Maybe win more. And contribute to shaping the tools you rely on—without having to scream into your NLE timeline.

The post Share Your Thoughts On Editing, Snag a Reward! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

In a plot twist worthy of a Hollywood blockbuster, Canadian visual effects powerhouse Rodeo FX has acquired parts of Mikros Animation from the beleaguered Technicolor Group. This strategic move comes on the heels of Technicolor’s financial unraveling, which has sent shockwaves through the VFX industry.

The deal includes all of Mikros Animation’s operations and Technicolor Canada’s equipment, ensuring uninterrupted studio activities—despite the recent shutdown of other Technicolor Group entities. The acquisition strengthens Rodeo FX’s international expansion, following the opening of its Paris office in 2023, and highlights the company’s economic stability in an industry navigating post-pandemic shifts and disruptions caused by Hollywood labor strikes.

Technicolor’s Fade to Black

Once a titan in the realm of visual effects and animation, Technicolor’s recent financial woes have led to a series of unfortunate events. The company filed for administration in the UK and initiated receivership proceedings in France, leaving thousands of artists worldwide in a state of uncertainty. Notably, subsidiaries such as MPC and The Mill have been impacted, with the latter’s US employees forming a new venture, Arc Creative, in collaboration with Dream Machine FX.

Rodeo FX: Expanding the Creative Corral

Amidst this industry upheaval, Rodeo FX has seized the opportunity to expand its creative horizons by acquiring Mikros Animation. Founded in 2006 in Montreal by Sébastien Moreau, Rodeo FX has built a stellar reputation for delivering high-end visual effects across film, television, and advertising. With studios in Montreal, Quebec City, Toronto, Vancouver, Paris, and Los Angeles, the company employs approximately 900 talented individuals.

Industry Implications

The downfall of Technicolor has sent ripples through the VFX and animation sectors, underscoring the volatile nature of the industry. The acquisition of Mikros Animation by Rodeo FX highlights the importance of adaptability and strategic growth in navigating these turbulent times. For production artists, the focus remains on tools and partnerships that prioritize usability, simplicity, and stability. As the dust settles, the industry watches closely to see how this acquisition will influence future collaborations and creative endeavors.

For more details on the acquisition and its implications, visit Rodeo FX’s official website.

The post Rodeo FX Saddles Up Mikros Animation Amid Technicolor’s Tumble first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Autodesk has unveiled MotionBuilder 2026, the latest iteration of its renowned character animation and motion capture editing software. This release brings notable enhancements to USD workflows and introduces several quality-of-life improvements aimed at streamlining the animation process.

USD Workflow Enhancements

Building upon the initial USD support introduced in MotionBuilder 2025, the 2026 version ensures that when loading a USD stage file, any embedded animation is now retained and rendered within the viewport. This advancement allows animators to work seamlessly with USD data without losing crucial animation information.

Additionally, the Python API now features an animatable frame offset property, enabling users to retime or time warp animations directly through scripting. To further facilitate USD integration, a new UI button has been added to reload USD stage proxies, complemented by a corresponding property in the API for enhanced control.

Quality-of-Life Improvements

In response to user feedback, MotionBuilder 2026 introduces a shortcut key that allows for the force-selection of previously unselectable objects, addressing a longstanding challenge in the animation workflow. Moreover, the software now supports extended function keys—[F13] and beyond—as keyboard modifiers, offering greater flexibility in customizing input commands.

The SDK has also been updated with a new property to control the inclusion of HUDs in FBX file exports. Furthermore, several API properties have been renamed to enhance clarity and usability, ensuring a more intuitive scripting experience.

Pricing and System Requirements

MotionBuilder 2026 is compatible with Windows 10 and later versions, as well as RHEL and Rocky Linux distributions (versions 8.10, 9.3, and 9.5). The software is available exclusively through a rental model, with annual subscriptions priced at $2,225—a modest increase of $80 from the previous release. For a comprehensive list of new features and detailed documentation, users are encouraged to consult Autodesk’s official resources.

As with any software update, it’s advisable to thoroughly evaluate MotionBuilder 2026’s new features within your specific production environment before integrating them into active projects. This approach ensures compatibility and stability, safeguarding the integrity of your animation workflows.

For more information and to explore the latest features, visit Autodesk’s official website.

The post MotionBuilder 2026: A little Leap first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

On March 16, from 11:00 to 15:00, Design for Film – Art and Costume Department meets VFX will take place at Kino 2, HFF München. The event brings together professionals and students to discuss the practical and creative intersections between digital and analog film production. Moderated by Waleska Leifeld, the panel includes Prof. Jürgen Schopper (HFF, VFX) and industry experts from Art and Costume Departments in film and series production.

Symposium at HFF München: Where Art Meets VFX

The symposium examines fundamental questions about interdisciplinary collaboration: Who communicates with whom—producers with VFX studios, location scouts with VFX supervisors? Who oversees the overall design? What role does a VFX supervisor’s independence play? At what stage is the decision made between digital and practical effects, and how does budget planning factor into this? The discussion also covers the integration of digital costume and art departments, the crucial on-set interactions between VFX supervisors and costume teams, and the evolving educational landscape for these fields.

Insights from VFX studies at HFF München, Production Design at ZHdK (Zürcher Hochschule der Künste), and Costume Design programs will provide context on how education aligns with industry demands. The symposium concludes with a networking session at Minna Thiel from 15:00 to 16:30.

And if you want to join, write a mail to info@v-sk.de

The post 16.03.25: DESIGN FOR FILM: Bridging Art, Costume & VFX @ HFF Munich first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The FMX 2025 conference, set to run from May 6 to May 9 in Stuttgart, promises a lineup at the forefront of digital production. Two highlights have already been announced, blending the art of visual effects with the transformative potential of artificial intelligence.

Stockholm-based VFX powerhouse Important Looking Pirates (ILP) will take the stage to present their work on Netflix’s adaptation of Ronja Räubertochter. Based on Astrid Lindgren’s beloved children’s book, the series launches on the ARD Mediathek on December 20, with linear broadcasts over Christmas and later streaming availability on Netflix.

ILP’s VFX team, including Production VFX Supervisor Torbjörn Olsson and VFX Supervisor Martin Hernblad, spent two and a half years navigating a gamut of challenges. Among their innovations: strapping iPhones to faces, dressing actors in motion-capture suits, and conjuring CG snow-dwelling, feathered creatures with speaking roles.

Meanwhile, artist and technology expert Martin Nebelong will delve into the intersection of human creativity and generative AI. Eschewing the simplicity of text-based prompts, Nebelong has developed workflows integrating traditional artistic methods—like brushstrokes, 3D sculpting, and animation—into AI-driven production. His exploration aims to regain creative control, which he argues has been diluted by over-reliance on generic AI prompts. FMX participants can expect a demonstration of Nebelong’s techniques, revealing how generative AI can enhance storytelling without sidelining human artistry.

Beyond the presentations, FMX 2025 offers its signature opportunities for networking and innovation. Companies and educational institutions can participate in the Marketplace, Recruiting Hub, and School Campus. The Marketplace showcases the latest technical tools, while the Recruiting Hub connects studios with emerging talent. The School Campus serves as an educational fair where prospective students can meet alumni and faculty from film schools worldwide.

The FMX Boards, available online, outline the guiding vision for 2025. Board members contribute to shaping the program with their insights into industry trends and emerging technologies. As FMX Director David Schäfer aptly put it: navigating the ever-expanding universe of animation, VFX, and interactive media sometimes feels like steering a starship into uncharted galaxies. Tickets and program updates are available on the official FMX website. Early registration is recommended.

The post Ronja Räubertochter Meets Generative AI: FMX 2025 Highlights Unveiled first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

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Digital production professionals, mark your calendars for an evening of cutting-edge visual storytelling at the “VFX Reel 2024” on November 28, hosted by the Department of Cinematography at HFF Munich. This event is set to spotlight the fresh and experimental work of visual effects students in both animation and live-action productions, giving audiences an in-depth look at the skills and creativity driving the next generation of digital artists.

A Program of Animation and Realfilm Projects

Starting at 18:30 in HFF’s Audimax Cinema, the VFX Reel 2024 promises a varied selection of digital productions from HFF’s up-and-coming talents. These screenings include animations and realfilms (hybrid productions combining live action with CGI elements) that delve into themes of self-discovery, resilience, and the mysteries of light and darkness. Among the notable entries:

• “Little Star” – A journey of a young astronomer reconnecting with her inner child. This animated piece uses intricate VFX to blend real-world elements with whimsical space visuals, offering a unique look at personal discovery through the lens of astronomy.
• “Woodland” – A visual narrative centered around a mystical forest creature seeking to bring light to a darkened world. With heavy emphasis on atmospheric lighting and textural VFX, “Woodland” stands as an immersive animation that emphasizes the power of hope and transformation.
• “Wohin” – This second-year student project brings the audience into the world of a young pianist grappling with her aspirations. Using minimalistic but expressive VFX, the film explores her dreams and the struggles of artistic expression in a realistic setting.

Behind the Scenes: Making Of and Student Q&A

The program doesn’t end with the credits. Attendees are invited to stay for a Making Of session, which promises an insightful look at the creative processes, challenges, and technical choices behind each production. This segment will include presentations from the students themselves, offering a rare opportunity to hear directly from the creators about their inspirations, workflows, and tools.

Moderated by Prof. Jürgen Schopper, the event also provides a platform for audience engagement, where viewers can discuss the creative process with the students in person. Prof. Schopper’s involvement brings an added layer of expertise, setting the stage for thoughtful discussions on the evolving role of VFX in narrative cinema.

Reserve Your Spot

The event is free, but seating is limited and entry is by online guest list only. Those interested should secure their spots by registering via the official HFF Munich VFX Reel page (link includes a QR code for entry). Doors open at 18:00, with the screening beginning promptly at 18:30. Afterward, attendees can enjoy a casual reception in the foyer, ideal for networking and connecting with others in the field of digital production and visual effects.

The post VFX Reel 2024: HFF Munich’s Visual Effects Students Showcase Their Latest Work first appeared on DIGITAL PRODUCTION and was written by HFF Hochschule für Fernsehen und Film München.

Applying for a new or next job can be a difficult and confusing experience, and it’s easy to miss what the recruiters on the other side are really looking for. In this episode, we explore the purpose of each step in the application process and how to create an application with the best chance of success.

The post TD Meetup 05: VFX Job Application first appeared on DIGITAL PRODUCTION and was written by Alexander Richter.

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.

relative.berlin, like many successful studios, began as a group of freelance friends working together in a living room. Over the years, these friends grew closer and added new members to their team to form a holistic company with a passion for creative output at a high aesthetic level. In less than 10 years, the team has realised video productions for global brands such as Universal Music, Mercedes, Honda, McDonald’s and Kinder.

The core group of relative.berlin consists of 10 artists. The perfect mix of aesthetically orientated pixel pushers and playful tech nerds who challenge each other to stay up to date with the latest looks, trends and technical innovations. Starting with motion graphics and 3Danimation, relative. berlin has evolved to apply its expertise in photogrammetry, body motion capture and facial motion capture to real-time animation, VR/AR, digital fashion and almost all forms of CGI.

Hello Anders, and welcome to our Reallusion Feature Stories. Please briefly introduce yourself, relative.berlin, and your music project.

Anders Mortensen: Hi, we are a creative studio in the heart of Berlin, so rave culture is part of our DNA. During the pandemic, the lockdown required isolation, which was very problematic for everyone. Art and culture professionals were confronted with deep existential fears. As a studio, we were lucky to be able to continue working on projects during these difficult times and we wanted to give something back to the community.

That’s why it was a special pleasure for us to shoot a music video for our good friend DJ Taube and his song“Where To Go?“. The video shows a madman raging in a padded cell while imagining himself on stage in front of thousands, and a lonely dancer expressing his feelings through movement in undefined, confined spaces. It is an expression of our collective feelings about the lockdowns of the last few years, and it was a therapeutic exercise to transform these feelings into art.

A lot of software is used and combined with each other. Can you tell us how long it took your team to familiarise themselves with iClone and Character Creator and understand the whole animation pipeline?

Anders Mortensen: We started our journey in 2021 with Character Creator (CC4) and then combined it with iClone (iC8). Coming from a traditional 3D pipeline, we knew we had some challenges to solve when developing a pipeline for this project. We needed both flexible and fast tools for character animation as we would need around 4 minutes of motion capture data. After a few days of trial and error, we found several ways that we could effectively integrate both Character Creator and iClone into our pipeline.

Can you tell us about some of the latest iClone features used in Taube’s where-to-go music video?

Anders Mortensen: Of course! There are several features that we found very useful during the production process. Firstly, we used the Character Creator to create a 3D model to match our photoshoot dancer. This also made it much easier for us to start the next step in our pipeline, which was to transfer the movements into iClone.

“We had previously trialled other motion capture data preparation software, but in this case that wouldn’t have been an option due to the complexity of the project. The biggest advantage we found in using the Reallusion tools was the ability and variety of options to correct motion capture data in real-time software.”

Anders Mortensen | 3D/2D Generalist at relative.berlin

We used various new features of iClone 8 to set up and prepare the movements, such as motion correction, foot contact, flexible frame rate and other tools for optimisation. This was extremely useful to ensure that we could maintain a fast pipeline for the character animation without losing too much time preparing the movements for the subsequent steps.

Motion Layer System

Particularly handy for us was the newly added feature that allowed us to access our recorded data at both part level and bone level, so we could make even the smallest corrections to all bones. This allowed us to quickly ensure high quality optimisation in our pipeline.

Reach target integration: foot contact and correction

As we had a lot of shots where the feet interacted with the floor, this became an essential and reliable feature during production compared to manual correction. This project involved a lot of stomping on the floor, so this feature helped us a lot in fine-tuning the movements of the crazies.

Functions for flexible frame rates

When flexible frame rate was introduced in iClone 8, we were sure that this would be a perfect fit for our pipeline as we could now combine assets from different parts of the pipeline in one place instead of having to convert each individual asset. Most importantly, we could now process the recorded motion capture data and cloth simulations without any major issues and even see if there were any errors in real time.

The characters’ clothing played a major role in this project. Can you tell us what advantages the Reallusion tools offered you?

Anders Mortensen: Importing fabric simulations and checking for possible errors before moving on to the next step in the pipeline saved us a lot of time as we could bring everything together in one place. This part of the workflow also allowed us to customise the transaction data to achieve better and more attractive fabric simulation results. We recognised where there was an opportunity to get an extra ‘oomph’ or create extra space for the simulation to get more detail.

Another important point was the use of Smart Gallery, which allowed people involved in this step of the pipeline to easily share and update files without losing time to import/export.

We love the way you realise your ideas. Would you tell us a little about what we can expect from you in the near future?

Anders Mortensen: For the future we see ourselves in many different areas of the animation/media industry. As we gain more and more experience in character animation and motion capture, we are confident to take an even bigger step in that direction. We believe that the development of the Metaverse will create a huge demand in character development for avatars and areas such as digital fashion.

We are currently working with a major game manufacturer to deliver high quality animated characters for their products. As we constantly walk the fine line between aesthetics and new technology, we are confident that we will continue to keep our finger on the pulse and push the boundaries of what is possible in these exciting times.

Follow relative.berlin

Website: relative.berlin
Vimeo: vimeo.com/relativeberlin
Instagram: instagram.com/relative.berlin
Facebook: facebook.com/relative.berlin
Behance: behance.net/relativeberlin

The post Club culture, techno music and character animation combined with iClone & Character Creator first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

As promised on page 92 of the current DP: And here are the files directly from the Blackmagic Design Ursa Mini Pro 12K for download: 5GB zip archive (via Dropbox). If you want to know what the settings were, you can see this in the metadata of the files. Have fun watching – the material is neon lights and night-time kiosks (also with good unhealthy neon light).

And if you haven’t had anything to do with Braw yet: There‘ s a free player, directly from BlackMagic – download it here. (Pro tip: Reboot Windows. Helps. Really now.) If you don’t want to register, you don’t have to – just click on “Download Only” in the input mask at the bottom left. If you want to do it all in Premiere, you can get a Braw plugin – for example the Braw Studio (as a trial version) from Autokroma, which also includes a BRAW Player & Windows Explorer Thumbnails Installer.

The post Night falls with the Ursa Mini Pro 12K! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Why transcribe?

With social media content being consumed everywhere, captions are becoming increasingly important – both for viewers and for data-driven edit workflows – text is easily searchable and instead of sifting through hours of footage, you only need to type the one quote into the search box to find the spot in the interview.

Adobe Premiere has just taken a huge step forward here and integrated the transcript tool into the current 2021 version (see article in issue 21:03, or here Speech-to-text Help Site). As part of this, the entire subtitles workflow has been linked to the Essential Graphics Tool and can be used intuitively. We have tested this and fed it with various voice recordings – in German and English, of course, and a little French, Allgäuerisch and Pfälzerisch. You can find videos here – and of course at postproduction-tutorials.net.

Why in Premiere?

There are other tools and tricks to get an automatic transcription, but if you’re already editing in Premiere anyway, it would be “unwise” to add another tool to the pipeline. Other news about the latest update can be found here: Premiere Pro What’s New/ User Guide

And for those who say “But I’ve always done that by hand”: respect and appreciation, but we suspect that there is potential for saving time and effort in your pipeline. Because unlike many tools out there, “Speech to Text” is included for free in the Creative Cloud – so you don’t have to worry about additional costs.

But how?

To put it very quickly, this is how it works: For the transcription, the audio is rendered and uploaded to the Adobe server. After a few minutes, the text is displayed and you can select the subtitle type and one of the text layouts already created in advance in the Essential Graphics Panel. The subtitles are now distributed in blocks on the subtitle track in the timeline. The blocks can be merged or separated as required. You can change the texts both in the subtitle window and directly in the programme window.

If you want to change the text layout, you can simply select one or more text blocks in the timeline and change the parameters in the Essential Graphics Panel or select another previously created track style. The transcript can be exported as text or SRT file. Importing the SRT file into the video uploaded to YouTube also worked straight away. That was the very quick version – but let’s go through it in detail – with screenshots and adjustments.

And now step by step

It’s best to use a concrete example: At the beginning of the year, I recorded a remote interview with Noel Powell, the programmer of these innovative After Effects templates, for my Creation FX article in DP 2021:01. I’ve been wanting to edit and transcribe this for a long time to publish it on my tutorial portal. Preferably also with German subtitles.

Firstly, I transcribed the entire interview, as a transcript is particularly helpful for long interviews when selecting unnecessary parts. As the video follows the text, you can simply cut and mark the relevant parts.

The easiest way to transcribe is to switch to the new subtitle workspace. Then select the timeline to be transcribed and click on the Transcribe tab in the text window.

After selecting the language and starting the transcription, an audio file is automatically rendered and uploaded to the Adobe Cloud.

The transcribed text then appears in the text window after a short wait and can also be edited directly there. The timeline runs in synchronisation with the highlighted text passage.

Different speakers can also be recognised. The names of the speakers can be edited by clicking on the 3 small dots. It is not immediately obvious that there is a small bar on the side of the window that can be used to scroll to the second speaker in order to change it.

There is a search field at the top of the transcript window that you can use to search for words or quotes. This allows you to quickly find text passages in interviews, for example to correct misspelled technical terms or simply to find important text passages. By clicking on the circle-arrow symbol, you get a replace function to effectively correct repetitive errors.

Transcribing clearly spoken texts works very well. The tool also copes quite well with English technical terms in a German text. Once the errors in the transcript have been corrected, the subtitles can be created. They now have their own track and the look is controlled via the Essential Graphics Panel.

Subtitles, nicely done

The best way to do this is to create a template in the Essential Graphics Panel in advance, which you can then select directly when creating subtitles. Simply click with the text tool in the programme monitor and write a representative two-line text. Then select a suitable font, set the colours, border, shadow and background to your liking and save it with “Create style”. The text style then appears immediately in the project window. It can be saved from there by right-clicking on “Export text formats” for later use in the Adobe Creative Cloud, for example. From there, it can later be dragged and dropped into another project.

All text styles available in the project can be selected directly in the dropdown of the “Create subtitles” tool. In this way, the type design can be modified very easily and you can quickly switch between different layouts so that the subtitles can also be adapted to the customer CI. The subtitles are then divided into blocks on the subtitle track at the top of the timeline. The blocks can then be easily merged or separated as required using the arrow icons. They can also be changed in length or moved just like images or videos using the corresponding mouse tools.

If you want to modify some subtitles, you can select individual ones or even several using the Shift key and edit them in the Essential Graphics window, for example to change the colour of the text background for a speaker. Subtitles can also be positioned differently if they are overlaid with a name insert. The easiest way to do this is to use the Align and Transform widget by clicking on one of the nine squares.

However, you can also move and scale the text field in the programme window using the mouse.

Important: This step should be carried out after selecting the track style. If you change it again, all changes will be lost and all subtitles will be positioned in the same place again. This is because, as the name suggests, the track style always affects the entire subtitle track.

It would be advantageous to be able to apply a track style only to individual subtitles in order to work a little faster.

Once the subtitles have been created and corrected, there are various options for outputting them. As text to integrate an interview into an article or as SRT for YouTube subtitles.

Test subtitles before uploading!

The free Pot Player presented in issue 2020:06 is also suitable for checking the SRT files before uploading. It automatically displays the SRT subtitles if they are in the same directory and have the same name as the video file.
You can also see straight away that the display of SRT subtitles does not offer the same options as in the Premiere Essential Graphics Panel due to the format. Only simple formatting such as text attributes, text colour and text position are adopted via HTML-like tags.

There are also formats for various broadcast standards, which are embedded in the corresponding format when the video is rendered out. Of course, this only works with formats such as MXF, which also support this metadata. If you want to retain the graphic design from Premiere, the subtitles can always be “burnt in” to the video.

The SRT files can also be used to initiate translations. For example, you can copy them into online translation tools such as Deepl and have them translated there.

We copy these texts into the text editor and save them with the .srt file extension. Simply drag this into the project and into the corresponding timeline. This automatically generates a new subtitle track and the embedded timecode markers are retained. This ensures that the translated subtitles are in the right places again.

Languages

Well, it wouldn’t be “language to text” if it could only be a slightly Hanoverian German – so far there are 12 languages to choose from: English (US), English (UK), Simplified Chinese (Mandarin), Traditional Chinese (Cantonese), Spanish, German, French, Japanese, Portuguese, Korean, Italian, Russian. Hopefully that will be enough to start with, but it is likely that more will be added over time. Maybe even Allgäu and Palatinate! Or other special dialects – but as in all areas of AI development, that remains to be seen.

And here’s something to look at

In the future, there may even be a possibility for automated translations. But for now, there are various ways to use other tools to help – here’s an example workflow in the video for the variant with Deepl.

But as so often: under Premiere Pro Tutorials you will find practically all the functions of Premiere explained – it’s worth browsing. And if you want to see the whole workflow especially for Youtube again as a video: Here is a short English tutorial with Youtube SRT as an example.

And here is a long video in which Colin Smith explains everything in detail… But without translation.

And you want to test it?

As promised earlier: If you want to test it quickly on a video, you can send me a file with audio, and we’ll run it through the automatic transcription and send it back to you – if you’ve already exceeded the trial period.

Here is the interface to the DP Pipeline – upload the files via Wetransfer, Dropbox or whatever else you like. Enter your name and the email address to which we should send the srt file (or one of the other export formats). Please note: After transcription, the video file will be deleted immediately due to data protection.

And if you want, you can also take part in the raffle for a 1-year licence in the form, until 30 September 2021.

The post Premiere listens – and types! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

ATEM Mini Pro ISO

This device makes it possible for the first time to integrate live production into the post-production editing workflow without an OB van or large control room. The ATEM Mini Pro already offered live switching and streaming functions. The ISO model builds on these functions and expands them. In addition, the ISO model has a new 5-channel H.264 recording engine. This makes it possible to record five separate streams in real time.

It is also possible to save as an editable DaVinci Resolve project. In this respect, the ATEM Mini Pro ISO saves all audio and graphic files of the media pool together with a DaVinci Resolve project file. Opening and editing live productions, for example refining the cut or remixing the sound, is thus prepared with a single click. The sync-bin function Resolves with its multiple view also allows new settings to be selected. Once a link has been created with the project, users can access the BRAW files from the camera for colour grading and finishing.

Four separate HDMI inputs allow up to four video cameras to be connected. Incoming video sources that deviate from the video standard are all re-synchronised by the mixer. Connecting several video devices is therefore possible without any problems. The four HDMI inputs are also equipped with a separate standard converter. Accordingly, an ATEM Mini automatically converts 1080p, 1080i and 720p sources to the video standard of the mixer. The HDMI output is a genuine aux output and therefore allows both individual HDMI and programme feeds to be output.

Direct recording of streaming data using a USB flash memory is also supported. This method enables long recording times in the same H.264 video files – including streamed ACC audio. The user can then upload these files directly to an online video portal.

Other features of the ATEM Mini Pro ISO include internal support for recording all inputs as separate ISO files, the USB output functioning as a webcam, the free ATEM software control application for Mac and Windows, an internal media memory for 20 RGBA graphics for titles or opening boards and logos or the multiview function for monitoring all cameras.

The ATEM Mini Pro ISO is available immediately and costs 895 US dollars.

ATEM Streaming Bridge

The ATEM Mini Pro ISO is accompanied by the ATEM Streaming Bridge. This video converter allows H.264 to be received by any ATEM Mini Pro and converted to SDI and HDMI. The ability to send videos to any recipient via an Ethernet network or the Internet demonstrates the potential of the ATEM Mini Pro as a remote production tool. This also offers the advantage that broadcasters can connect directly to the video link. This simplifies collaboration between global contributors. This advanced workflow is made possible thanks to the converter, which utilises H.264 codecs for higher quality at low data rates.

It would also make it possible to provide multi-camera productions for live streaming on streaming platforms or business presentations. The ATEM Streaming Bridge harmonises perfectly in tandem with an ATEM Mini Pro as a remote broadcast studio.

The ATEM Streaming Bridge will be available from August this year and costs 245 US dollars.

Further information and ordering options are available directly from Blackmagic.

The post Blackmagic | ATEM Mini Pro ISO & ATEM Streaming Bridge first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

There are no watermarks in the projects created with the free Nuke versions, but some lighting functions are limited and the output can only provide HD resolution. Some nodes are also not available in Nuke non-commercial, such as the Write Geo, Ultimatt, Primatte, BlinkScript and GenerateLUT nodes, and 2D format support for .mpeg 4 and .h264 is not included. The option for Python scripting has also been restricted.

The commercial Nuke Studio version has monitor output support, 3rd party plug-in support for OFX and custom plug-ins and command line rendering – functions that you also have to do without in the free version.

However, if you would like to try out the three versions Nuke, Nuke X and Nuke Studio, the non-commercial products are an ideal solution.

You can download the free Nuke family here. The tools are compatible with Windows from version 7 with 64 bit and Mac OSX from 10.8.

The post Free Nuke version available first appeared on DIGITAL PRODUCTION and was written by Mirja Fürst.

Nuke Studio is the extended version of the node-based Nuke compositing tool, it also has editing, finishing and collaborative features so that it can be used for a complete production and post-production workflow. You can find all the information on the current 9-series versions of the Nuke family here and in our latest issue of DP.

Features of the optimised version

New features include various overlay tracks and blending modes in the Nuke Studio Timeline, so that the interface will feel more familiar to editing professionals and editorial effects such as insets and product logos can be used much faster and run in real time.

The audio editing tools have also been optimised, so audio tracks can now be viewed in wave form in the timeline and edited with cross fades and fade in/out transitions. Furthermore, the new release makes it much easier to enter review information such as timecodes and clip and project names directly into the timeline, and support for XML and AAF for gradings, non-linear retimes, transforms and cropping ensures that external editorial effects can be created automatically within Nuke Studio.

There have also been changes in the stereo 3D area: native support for stereo playback has been added, both for the application and via SDI output, so that users can utilise all the tools within Nuke Studio and the Nuke and Nuke Flipbook for stereo projects.

The revised version of Nuke Studio is expected to be available in the summer.

NAB live stream

The live stream from NAB starts at 7pm. If you would like to join us, you can register here.

All further information about The Foundry and its tools can be found here.

The post Improved Nuke Studio version first appeared on DIGITAL PRODUCTION and was written by Mirja Fürst.

Nuke 9

In addition to significant speed improvements, the performance of the EXR Reader, the Deep EXR Reader and the Scanline Renderer have been optimised. Using the new technology from Nuke Studio, The Foundry has created a Native Flipbook Panel that adds a real-time player to the two applications and saves the round trip to other flipbooking software packages.

New formats are also supported, including MXF for DNxHD, Sony Raw from the F55 and F5 cameras and XAVC. There is also GPU debayering for Arri and Red Raw files. The Denoise tool, which was previously only available exclusively in NukeX, is now also included in Nuke 9.

The OFlow tool has been better integrated into the software, giving users more precise control over retime curves in the source time range. In addition, the scripting functions in the tool have been revised, it is now easier to add drop shadows and outlines to texts in the text node and the improved curve editor speeds up the workflow.

Special functions in NukeX and Nuke Studio

Kronos 2 is the new motion estimation algorithm in NukeX and Nuke Studio. It is also the basis for the new Vector Generator 2, which not only allows users to create optimised vectors, but is also Blink GPU-accelerated. The Planar Tracker 2 has a new region tracking algorithm, which should also work on film material with featureless areas.

The Planar Tracker and Roto are integrated into the system as a single node with a new pattern-matching algorithm. According to The Foundry, the particle bounce node also offers new particle possibilities with Nuke.

Nuke 9 is available for 3,026 euros for Windows, Linux and Mac OSX. NukeX costs 5,760 euros and Nuke Studio is available for 5,400 euros. The Foundry also offers annual subscriptions. Free non-commercial licences for Nuke will also be available at the beginning of 2015. Find out more here.

All further information on the new Nuke features can be found at The Foundry.

We will be testing the new features of Nuke 9 in detail for you in an upcoming issue of DP.

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The post The Nuke 9 versions are here! first appeared on DIGITAL PRODUCTION and was written by Mirja Fürst.

Although there will be no watermarks or similar restrictions, the output resolution is limited to HD and the DNxHD and MPEG2 codec is missing. In addition, there will be no external monitor preview and no command line rendering. The WriteGeo and Primatte nodes are deactivated, and the free version does not allow you to work with external plug-ins. Scripting functions are also severely limited.

Furthermore, the free tools may not be used in training centres or in production pipelines where commercial Nuke versions are already in use.

Perhaps this pricing policy is a move against open source compositing tools such as Natron?

If you missed the Nuke 9 release event, you can take another look here.

The Foundry’s feature videos on Nuke 9 can be found here.

All further information about The Foundry and its non-commercial Nuke tools here.

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The post Free Nuke versions first appeared on DIGITAL PRODUCTION and was written by Mirja Fürst.

The Foundry has presented version 9 of its compositing flagship Nuke, as we reported. Here you can see the new features once again, divided into individual short clips.

Conforming
In addition to the standard editing functions, Nuke version 9 can now also pack EDLs, XMLs and AAFs into a multi-resolution/multi-track timeline – including audio. This eliminates cumbersome workarounds and all workflows are possible in one application.

Export structure
Whether you are an individual artist or working in a team/with different departments – the underlying export structure, basically a simple shot management tool, is designed to simplify processes. Among other things, The Foundry relies on automatisms for the creation and naming of directories that are edited by several people.

Annotation
With the annotation function, The Foundry is once again close to the needs and problems of studios. Artists can draw markers directly in Nuke and add them to a note window so that the likelihood of misunderstandings is minimised and everyone can see what is meant. Useful for review sessions.

Kronos
Kronos” is now exclusively available for Nuke Studio and NukeX. This enables GPU-accelerated retiming. This is useful for squeezing something into a specific time segment or moving it in “super slow motion”, for example. The function is based on the Oscar-winning Furnace algorithms and Ocula research.

Soft Effect
The GPU-accelerated effects can be added to the timeline in real time. This makes it quick and easy to perform a shot setup, experiment and even polish up a shot – for yourself, in a team or in review rounds. The effect appears as a layer above the shots in the timeline, and soft effects can be added, cloned or copied on a shot-per-shot basis or through the entire track or each separate video track layer.

Comp Containers
This function allows you to jump directly from the timeline to a compositing shot. They “pack” a Nuke script and allow playback, versioning and editing in the timeline – just as you would normally do with image clip media.

Flipbook
Nuke and NukeX have their own native flipbook panel within the application, based on Nuke Studio technology. This enables real-time playback with audio. You can load multiple versions and compare them in “Comparison Mode” (with each other, next to each other …).

Editorial Tool
The tools within Nuke Studio provide users with a familiar, functional standard editorial package – which can be accessed in the timeline. Functions include “select track”, “slip&slide”, “roll&ripple”, “retime”, “razor”, “razor all” and “join”.

Versioning
The versioning function makes it possible to add different versions of a shot to the timeline and switch between them. This makes it easier to handle different versions – again helpful for meetings in the team or with the customer. You can also jump directly from the timeline to the comp – regardless of whether it was created by yourself or by another Nuke artist.

Tags
The tagging system allows shots and other media to be labelled, making them easier to manage and find. Annotations can be added, special “labels” for customers as well as higher-level metadata.

You can find all the information about the individual software packages and licence models here.

Image: The Foundry/Disney

The post Feature videos for Nuke 9 first appeared on DIGITAL PRODUCTION and was written by Bela Beier.