Maxon has updated applications across the company’s Maxon One combined package of software tools. Cinema 4D Release 25 and Trapcode Suite 17 have new functionality and Redshift RT is introduced as a Public Beta version.
Among many updates, Cinema 4D R25 includes new user interface enhancements and a wide-ranging preset system for optimising workflows. New Spline Import options allow artists to use Illustrator, PDF and SVG vector artwork in 3D scenes, and new Spline and Data Integration functionality can be used to build Capsule Assets.
The new UI in R25 reduces complexity to avoid distraction, adds new, clearer icons and makes the sliders more distinct. Layouts can adapt to the current mode, object or tool with the new Dynamic Palettes, laid out to optimise screen real-estate and put the relevant tools in reach.
R25 Interface enhancements
New browser-like tabs at the top of the Cinema 4D window help switch between open documents or key layouts. Layout switching on multi-monitor displays is more consistent, and the width or height of layout elements can be maintained while switching resolution. Number fields in the Cinema 4D R25 Attribute Manager now work as virtual sliders. Users interactively adjust the values by clicking-and-dragging over the fields, or using the up and down arrow keys to increment the place value.
Capsules are a new way to use Cinema 4D's Scene Node system. Capsule Assets constructed in the Scene Nodes core work like procedural plugins, and can be used directly in Cinema 4D's Classic Object Manager as primitives, generators or geometry modifiers – within the same hierarchy.
Capsule Assets
Five types of capsule objects can be used this way. The object group works like a generator, the geometry modifier group act as deformers, the selection modifier group procedurally creates and modifies component selections for procedural polygon modelling, the mesh primitive group allows you to create your own primitive mesh objects and the spline primitive group creates primitive splines. Each object has its own node graph. Parameters from the node set-up can be exposed and edited. So, now you can combine regular workflows with scene nodes.
Spline Import updates allow users to import vector artwork from Adobe Illustrator, PDF and SVG files to use in 3D scenes. For example, splines are imported from Adobe Illustrator files saved with PDF compatibility, supporting symbols and gradient-filled shapes as well. Vector art stored in the SVG format can also be imported. Vector artwork is automatically converted to 3D, with options to offset paths and layers in 3D space, define extrudes and sweeps to represent filled and stroked paths, and replace or reload artwork.
Data Integration
A new Asset Browser gives access to searchable libraries of preset content stored locally or online, including a collection of 3D objects, materials and node capsules available to Cinema 4D subscribers. The assets have rich metadata and keywords, and are cached locally for re-use. You can also add favourite keywords yourself, and save frequent searches in smart folders for those words.
In the Asset Browser, presets for objects, tags, materials, tools and other Attribute Manager elements are stored, specifying defaults and recalling presets for each element via a drop-down menu. Dedicated presets can include gradients, colour swatches, cap profiles and other elements.
A searchable palette of common assets can be placed directly in Cinema 4D layouts, and individual assets, folders or smart searches added to icon palettes. Assets will be immediately added to the scene, with a pop-up Browser window for the searches and folders. Asset Versioning, useful in complex pipelines, is available, and object-based assets may be inserted as objects, Instances or References for flexibility and efficiency.
Cinema 4D’s upcoming Scene Manager, still in progress, uses node-based assets to construct procedural geometry or an entire scene in a hierarchy-based view. Eventually the Scene Manager workflow will allow you to integrate Classic Cinema 4D objects by dragging them into the Scene Manager. Everything done within the Scene Manager also creates a corresponding node graph within Scene Nodes, so you can choose the best workflow for your job.
Scene Nodes
Users can manage relationships and dependencies between objects, construct and modify geometry, and build reusable assets with the Scene Node core, as well as debug scene node systems.
For TDs, the main value of Scene Nodes is the ability to expand the potential of a system without using any code. Support for splines in the Scene Nodes core makes it possible to assemble linear, bezier, b-splines and NURBs splines. Properties like colour, weight and normal can be assigned to points and the interpolated position, tangent and values can be retrieved along the spline. Also, new Spline Primitive assets can be created with the spline primitive group (see Capsules).
Supporting data integration, CSV files can be imported and used in Scene Nodes setups for rich 3D data visualisations. Capsule assets have various data visualisation options that can be applied to any data. Values can be passed into Scene Node setups with a new Command Line Argument node, rendering dynamic content without opening Cinema 4D.
Disperse & Twist
Trapcode 17 now makes it possible to work with Particular and Form in the same 3D space by bringing some Form behaviours to Particular, including Kaleidospace, Disperse & Twist and Distribution, and vice-versa. The release also upgrades the Flocking simulation, which has new On Predator/Prey Contact and Team designations. Users can select more than one particles system at a time in the Designer to apply commands to, Spherical Field and Turbulence Field have new 3-axis controls, and new Emitter Behaviours can now be applied to immortal particles.
Z Buffer Group
Form now shares Z Buffer Group and Obscuring Layers with Particular, for working with 3D and depth layers. Audio React and Layer Maps are now available in all eight base forms. Two colour randomisation tools, Color Random and Random from Gradient, are available and, as in Particular, the Create Null button automatically creates a Null in a composition.
Colours can now be labelled in Particular
All Trapcode tools – Particular, Form and MIR – now support Adobe multi-frame rendering, still in Beta, which allows applications to take advantage of multi-core CPUs to improve export and preview rendering performance. Multi-Frame Rendering impacts your project’s render speed based on the number of CPU cores available in your computer, available RAM and graphics card compute power. Adobe multi-frame rendering also improves performance for Previews for a more fluid user experience.
Colour Random from Gradient
Because Redshift is now available as a subscription product only, new features and updates have been delivered throughout the year. These include macOS compatibility via support for M1-powered Macs and Apple’s Metal Graphics API. Greater support for OpenColorIO (OCIO) v2 has resulted in more accurate, cinematic colour through the use of ACES and other custom colour profiles, and a 3ds Max OCIO colour picker.
Redshift now supports Houdini Solaris Hydra, USD and Houdini viewport rendering. For looks, artists now have a Multiscatter hair shader, new microfacet sheen BRDF and improved dispersion and caustics. DeepEXR volumetric support, open shading language (OSL)support including closures and Tyflow support for 3ds Max are added as well. As well as a new UI, Redshift has Cinema 4D VIPR viewport rendering, a new scalar curve utility node and UV projection node, and a new Blender 3D plugin.
The new Redshift RT rendering mode has completed its alpha stage and entered public beta. Redshift RT mode achieves near real-time rendering performance using the same shaders and lights. It co-exists with the standard Redshift render engine in the same DCC and scene, without affecting efficiency. Artists can use it during development of a project or even at final render if the project does not need the same level of fidelity as standard Redshift. www.maxon.net
It's now possible to select and isolate materials in Redshift.
VFX and virtual production studio Pixomondo is launching a London division in September and has appointed Alex Webster as its Head of Studio.
Most recently working as Managing Director of Framestore Pre-Production Services in London, Webster will focus on facilitating the growth of Pixomondo’s virtual production services in Europe, working with the company’s wider management team.
Pixomondo (PXO) currently has three LED volumes either fully operational or under construction in Canada, located in Vancouver and Toronto and operated in conjunction with production equipment rental specialist William F. White International.
Potential locations for the new UK facility are under review pending client consultations. It will be closely integrated with PXO’s existing German operations, located in Frankfurt and Stuttgart.
Alex Webster said, “Over the last few years I have witnessed first-hand the speed with which the integration of VP with visualisation is reshaping the VFX industry. PXO is driving innovation in this space and making VP central to its workflow, becoming one of the most agile and creative studios working in the industry today. I’m thrilled to be working in close collaboration with the whole PXO team to design and build a state of the art integrated VP studio, which will combine teams in concept art, previs, virtual art and in-camera VFX with a brand-new LED volume in the UK.”
Alex Webster, Pixomondo Head of Studio
At Framestore, Alex built FPS, the company’s pre-production division, to more than 120 employees, specializing in previsualisation, virtual production, techvis and postvis for clients in film, episodic and experiential media. Prior to that he was Managing Director of The Third Floor London and Executive Producer at VFX boutique Electric Theatre Collective, where he established its sister production company Friends Electric.
Alex’s earlier beginnings include the roles of Deputy Head of Production at MPC, Head of Content at The Mill, where he spearheaded original content creation as part of Mill+ and Managing Director of animation studio Passion Pictures, overseeing the company’s operations in London and New York.
Jonny Slow, PXO CEO said, “We could not be more excited to be welcoming Alex to the PXO team as we continue to roll out our growth plans. We have our roots in Europe, and Germany remains a central and crucial part of our VFX production and artistry capabilities. Adding a London presence to complement this strong foundation, focused on virtual production and run by Alex, will ensure that we can continue to expand our offering to clients, and service the significant amount of demand for these services in the UK and Europe.
“London is second only to Los Angeles for physical production services and home to a significant number of hugely talented crew, experienced in high-end TV and film production. Virtual production demands that we locate ourselves close to these facilities and talent. A significant push during 2020 from the UK Department of International Trade to make the UK a virtual production Centre of Excellence, as well as investment from Mayfair Equity Partners, has allowed this part of our plan to be accelerated. I very much look forward to working with Alex in the years to come.”
Jonny recently relocated back to London to assist with the launch after almost a decade in Los Angeles and three years at PXO.
The London launch represents the latest step in PXO’s push to grow interactive pre-production services for large feature and episodic projects. By working closely with producers from the first stages of the art process, PXO develops value for productions, supports filmmakers’ efforts to innovate, while delivering cost-effective results more rapidly, and with less risk.
Allen Simpson, Acting Chief Executive at London & Partners, the business growth and destination agency for London, said, “We are thrilled Pixomondo has chosen to expand their European operations to London. The UK capital is home to a thriving film and TV production industry, including a host of cutting-edge companies at the forefront of innovation in visual effects and virtual production. Investments from companies like Pixomondo are a testament to London’s position as a global hub for creative industries and we look forward to welcoming them to the city.” www.pixomondo.com
Visual effects studios MPC and Mikros have formed an alliance of their episodic and film divisions. Mikros, a French company with over 35 years in the visual effects industry, has been a Technicolor brand since 2015.
The combined studios will operate under the MPC Episodic brand and will continue to make PreProduction and VFX services available to the French features and episodic market, and beyond.
The strategic move to integrate Mikros’ episodic and film division with MPC Episodic bolsters MPC Episodic’s market presence as a full-service global VFX studio, adding to its established studios in Berlin, London, Los Angeles and Bangalore. Meanwhile, Mikros Animation and Mikros Advertising will remain as they are.
The Paris and Liège based Mikros studios are headed by MD – France and Belgium, Béatrice Bauwens, previously MD at Mikros VFX. Recent film and TV projects by the studios include ‘Into the Night’, ‘Lupin’, ‘Aline’, ‘The Forgotten Battle’ and ‘Annette’, which opened the Cannes Film Festival on 6 July.
“Bringing our creative and technical expertise to projects and getting involved with filmmakers to bring solutions has always been our driving force,” Béatrice Bauwens said. “We share with the MPC teams the same passion to find solutions that best serve the stories. The association of Mikros VFX and MPC Episodic is a great opportunity for the teams to have access to the world's highest technology and an exceptional community of talent for the benefit of our clients in Paris and Liège. We are proud to bring our French and Belgian touch to the MPC brand.”
MPC Episodic’s Global MD Tom Williams said, “I’m delighted to welcome the incredible talent of the Mikros VFX team. Joining forces affirms our commitment to provide the best VFX talent and technology to our clients anywhere in the world. France has a rich history of filmmaking and we are honoured to have the opportunity to work within the French market and offer our international clients access to the wealth of talent available in Paris and Liège, as well as more VFX production tax rebate options.”
Since its launch in January 2020, MPC Episodic has seen exponential growth, attracting some of the industry’s best creative talent including Executive VFX Supervisor Pete Jopling (The Third Day, Battleship), Executive VFX Producer Christopher Gray (The Witcher, The Boys), VFX Supervisor David Sewell (Chernobyl, Les Misérables) and VFX Supervisor Sheila Wickens (Doctor Who, Big Little Lies). MPC Episodic has since completed work for Sky / HBO’s series ‘The Third Day’, Warner Bros. Television’s ‘Pennyworth’ and ‘Lisey’s Story’ and is working with clients including AppleTV+, Bad Robot, BBC Studios and Amazon Studios. www.mpcepisodic.com
FuseFX visual effects studio, performing services for television, film and commercials from eight studios in North and South America and Australia, has promoted key staff members to leadership positions at its New York and Atlanta studios.
At FuseFX’s Atlanta location, launched in early 2020, Brian Kubovcik will now serve as head of studio and senior VFX supervisor. Brian is an Emmy-nominated VFX supervisor who joined FuseFX's New York office in 2015. Brian is collaborating with filmmaker Ava DuVernay on her projects ‘DMZ’ and ‘Naomi’ as VFX supervisor. He has previously worked on critically recognised series including ‘Pose’, ‘Invasion’, ‘The Blacklist’, ‘The Tick’, ‘Survive’ and ‘Mr. Robot’.
Brian is joined at the Atlanta studio with long-time FuseFX leader Lindsay Seguin. Lindsay has been a staple in the New York office since its inception in 2014. She makes the transition to Atlanta as head of production and executive producer. Along with Brian, she was part of the Emmy-nominated team for ‘Mr. Robot’, and served in prominent roles on other projects such as ‘When They See Us’, ‘Invasion’, ‘The Blacklist’, ‘Luke Cage’ and ‘American Made’.
Head of studio and senior VFX supervisor Brian Kubovcik
"I'm excited about leading this team of talented VFX professionals in Atlanta. For me, it's a special moment to be able to partner with my long-time colleague, Lindsay Seguin, to grow our Atlanta office together. Our goal is to harness and foster the talents of our valued artists to continue to deliver high quality work that our clients require," Brian said.
Lindsay also said, "I am super excited to partner with Brian in Atlanta. There is an amazing team here, and we are really looking forward to continuing to grow with them."
"Brian and Lindsay have been with FuseFX for a long time, providing leadership at our studio in New York," said FuseFX founder and CEO, David Altenau. "Having a couple of established veterans who have grown up within the New York market take the reins in Atlanta gives me great confidence about the team they are going to build there, and the visual effects they will produce. This is a well deserved opportunity for both of them to take new leadership roles within FuseFX and lead a new studio location."
Head of production and executive producer Lindsay Seguin
John Miller has been promoted to head of studio-NY and senior VFX supervisor. Working with him in new roles at the studio are executive producer Lauren Montuori and Ariel Altman, senior VFX supervisor and head of creative.
John has over 20 years of experience in television production, feature film production and post. He has created and managed visual effects, graphics and editorial departments at facilities in New York including Princzco Productions, Flicker VFX @ SMA, Moving Images, Point 360 New York and Perception NYC. His credits with FuseFX include ‘Mr. Robot’, ‘When They See Us’, ‘Iron Fist’, ‘Castle Rock’, ‘Tell Me A Story’ and ‘Sneaky Pete’. John has also worked on Marvel films, including ‘Avengers: Age of Ultron’ and ‘Captain America: The Winter Soldier’.
"I am excited to begin my new role as FuseFX New York's head of studio and senior VFX supervisor. I am looking forward to leading and growing the talented creative/production team as we continue to take on a larger number of complex projects, and strengthen our relationships with our global partners in the FuseFX community. Lauren, Ariel and I have been in the trenches on some of FuseFX NY's biggest projects, managing client creative and production expectations. Through our close working relationship, we have created a shorthand that has become invaluable as we move into our new roles," John said.
Lauren Montuori as executive producer has more than 10 years of experience in visual effects and animation. Her recent work at FuseFX includes contributions to ‘Prodigal Son’, ‘Black Lightning’, ‘Iron Fist’, ‘The Dangerous Book for Boys’, ‘The Get Down’, ‘The Blacklist’ and ‘Mr. Robot’, which earned her VES and Emmy nominations. Lauren's previous experience includes ‘Horton Hears a Who’, ‘Brave’, ‘The Girl on the Train’, ‘Winter's Tale’, ‘The Secret Life of Walter Mitty’, ‘The Adjustment Bureau’ and ‘Salt’.
"I'm looking forward to partnering with John and Ariel while moving into this new role. We have an incredible team, and I look forward to continuing to help support the company's growth and talent with them in New York," she said.
Ariel Altman, now senior VFX supervisor and head of creative, has been part of the New York team since its launch in 2014. Ariel’s 10 years of experience as a compositor and supervisor include credits spanning television, commercials, broadcast media and music videos. Recent work includes HBO's ‘I Know This Much Is True’, ‘The Blacklist’, ‘Kevin Can Wait’, ‘Bull’, ‘American Made’, ‘Luke Cage’, and ‘Mr. Robot’, for which he also received an Emmy nomination in 2018.
"Our focus on creative approaches in partnership with our clients has been the core of our growth since opening the NY office seven years ago. I'm pleased to continue this work in my new role and continue our mission of telling great stories. I couldn't ask for better partners in John and Lauren," said Ariel.
Dave Altenau said, "John, Lauren and Ariel have been key members of our team and led projects for FuseFX in New York for many years. All three are consummate professionals with proven track records delivering award-level visual effects, and now have an opportunity to take our New York studio to the next level." fusefx.com
DNEG is increasing its Canada-based VFX and animation operations and opening a new studio in the Greater Toronto Area. The company’s fourth North American facility, joining studios in Montreal, Vancouver and LA, will initially employ up to 200 people, in particular new technology positions, as well as VFX and animation roles. The new emplyees will initially work remotely, with the search for a physical studio location in the Greater Toronto Area now underway.
The opening of the Toronto studio is part of a wider expansion across Canada. They also plan to expand their existing Vancouver and Montreal offices with up to 300 new roles, including up to 100 new positions for our DNEG Animation team as it opens its doors in Vancouver.
People interested in joining the teams in Canada can find these new opportunities and job postings on the careers page here.
Commenting on the expansion, CEO Namit Malhotra said, “We are further investing in Canada by creating up to 200 new jobs in the Greater Toronto Area with the opening of our fourth North American studio. We are also continuing to build out our studios in Vancouver and Montreal to support our upcoming slate of VFX projects, and extending our successful DNEG Animation team to Vancouver as they move into production on five new feature animation projects. Growth in our Canadian talent and capabilities will help us strategically align with the demands of the entertainment industry and seize our new growth initiatives and content creation opportunities.”
DNEG’s Global CTO Paul Salvini said, “I’m excited that DNEG is bringing these new opportunities to the visual effects and technology communities of the Greater Toronto Area. As a resident of Kitchener / Waterloo myself, I’m well aware of the strength of the technology talent in this area. This is a great chance for technologists working in AI, machine learning, UX and across a broad spectrum of technology areas to refocus their talents on helping to create incredible imagery for some of the world’s biggest feature films and episodic series. We’re not fixed on candidates having previous film or media industry experience – we’re looking for passionate and curious technologists who are excited at the prospect of a new challenge.” www.dneg.com
