Autodesk Celebrates Digital Artists Behind Most-Acclaimed Movies of the Year
SAN RAFAEL, Calif. — (BUSINESS WIRE) — March 9, 2011 — The remarkable transformations of cityscapes in âInceptionâ were achieved with the help of visual effects software from Autodesk, Inc. (NASDAQ: ADSK), marking the 16th consecutive year that Autodesk Digital Entertainment Creation tools were used on a Best Visual Effects Oscarâwinning movie.
Passion Pictures Australia used Autodesk Digital Entertainment Creation software to create Oscar Winner for Best Animated short, "The Lost Thing." (c) Screen Australia, Passion Pictures Australia Pty Ltd
âWeâre thrilled to see a win for âInception,â and for long-time Autodesk customer Double Negative,â said Marc Petit, senior vice president, Autodesk Media & Entertainment. âThe Double Negative team did an incredible job, transporting the audience into the dreams of the filmâs main characters with groundbreaking visual effects work that seamlessly integrated digital elements with the special effects and live-action footage.â
Achievement in Visual Effects
âInceptionâ â Oscar Winner
In âInception,â Double Negative, the sole visual effects house and British Academy of Film and Television Arts (BAFTA) winner, helped create an unforgettable visual landscape where dreams and reality are interwoven in a complex tale of redemption. Double Negative used an arsenal of VFX tools to fold an entire city block in Paris in on itself, erect vast expanses of modernist buildings and crumble dilapidated architecture into the sea.
âAlice in Wonderlandâ â Academy Award Nominee
âAlice in Wonderlandâ offers a new twist on the classic Lewis Carroll tale, in which computer-generated (CG) characters interact with a host of live-action performers â many of whom are digitally stretched, pinched and distorted to appear vastly different from their real-life counterparts. Sony Pictures Imageworks (SPI), the primary facility on the project, made extensive use of Autodesk Maya, Autodesk Mudbox and Autodesk Flame software. âWe are extraordinarily proud of the work and celebrate the talent that went into its production. Ken Ralston and the Imageworks team used virtually every conceivable technique to achieve Tim Burtonâs creative vision. Autodesk technology, using Maya as the foundation for every shot to some intricate compositing in Flame, was a key part of our production pipeline. It is an honor to be nominated in this yearâs distinguished company,â said Rob Bredow, SPI chief technology officer. The Third Floor also relied on Maya and Autodesk MotionBuilder software to create the 263-shot detailed previsualization on the movie.
âIron Man 2â â Academy Award Nominee
ILM, which created 527 visual effects shots on âIron Man 2,â created the filmâs remarkable Iron Man suits and spectacular action sequences with the help of Maya and Flame. "Maya played an invaluable role in providing our artists the tool to create the animation for âIron Man 2.â AnimatorsÂ that were new to ILM were able to jump straight into shot production with very little training time and thanks to Maya's opened ended platform we were able to customize and create new tools that were vital in bringing both Iron Man and War Machine to life," said Marc Chu, ILM animation director. Autodeskâs Digital Entertainment Creation tools were also central to the previsualization work by The Third Floor (700 unique shots).
âHarry Potter and the Deathly Hallows: Part Iâ â Academy Award Nominee
The Harry Potter franchise continues to push its story of wizardry, friendship and adventure into darker realms. MPC (180 shots), Framestore (100 shots), Baseblack (250 shots), Cinesite (100 shots), Double Negative (190 shots) and Rising Sun Pictures digitally created a host of otherworldly characters and effects that inhabit the world of Harry and his Hogwarts cohorts including, Deatheaters, Dementors, character transformations, digital doubles, fire and battles. Framestore CG Supervisor Andy Kind said, âMaya was our principal tool for modeling, rigging and animation. By giving us the flexibility to write a suite of rigging and animation tools, Maya enabled our animators to bring Dobby and Kreacher to life.â Baseblack Executive Producer Stephen Elson added, âEighty of our shots involved 3D content and Maya was the backbone of our pipeline in every case.â
âHereafterâ â Academy Award Nominee
âHereafterâ opens with an incredible reenactment of the devastating
tsunami that destroyed a wide swath of coastline in Thailand in 2004. To
create the photorealistic CG water sequence, Scanline VFX used
3ds Max software for modeling, animation, rigging, cloth and hair
simulation. All water and fire simulations were created by its
proprietary fluid simulation system, Flowline, which is tightly
integrated with 3ds Max and V-Ray for rendering; for crowd simulations
with motion capture, Scanline turned to MotionBuilder. Stephan
Trojansky, Scanline visual effects supervisor said, "Realism is a
hallmark of Clint Eastwood's film, and a key part of the challenge in
âHereafterâ was creating supporting visual effects that were realistic
and believable, yet highly controllable. The film required us to push
our proprietary software, Flowline, to the next level, with improved
ways of controlling the behavior of the physics of water, as well as
rendering it for optimal effect.â