Studios Expand Their Businesses with Autodesk

Post-Production Facilities Expand Their Businesses with Autodesk Lustre Digital Color Grading System . Industry Leading Creative Toolset, Concurrent Workflow and Multi-Format Handling Fuel Lustre Adoption for Film and TV Projects

Autodesk, Inc.’s (NASDAQ: ADSK) Autodesk Lustre digital color grading system is gaining strong recognition among post-production facilities in Asia, with more than a dozen recent key installations. Autodesk’s digital intermediate (DI) solution has been adopted by the top players in the market; including The Post Bangkok, Oasis Post, Prasad EFX, Pixion, Ocher Studios, Seven Crest and Taipei Motion Picture Corp. These have now added high-value color grading to their creative services offerings.

“Lustre’s leading-edge creative tools, cost-effective GPU-accelerated performance, and efficient workflow is particularly important to the Asian movie and TV industry; with the increasing demand for high quality and real-time grading, and its requirement for rapid turnaround”, and said Paresh Khara, Autodesk Asia Pacific Media & Entertainment Senior Director.

Thailand’s The Post Bangkok has evolved from a commercial post-production house into a comprehensive facility handling short- and long-form TV projects, as well as feature films. Its pipeline includes Lustre as well as five Autodesk Inferno and Flame visual effects suites. "Lustre, almost by itself, has allowed The Post Bangkok to make the transition from a TV commercial post-house to a full-on DI grading facility. We couldn't handle even half of our current volume of film jobs without it," said Richard Downing, director of Post Production. The company gets a steady stream of projects from Thailand, Hong Kong, and the US.

Adelaide, Australia-based Oasis Post is using Lustre alongside its Flame and Smoke systems. Building on its international reputation for delivering high-quality post-production services, the company recently employed its Autodesk solutions to deliver 2K DI work on the feature film No Reservations, directed by Scott Hicks and starring Catherine Zeta-Jones. Hicks is now working with Oasis Post on a two-hour documentary titled Glass -- A Portrait of Philip in Twelve Parts, which celebrates the life and works of composer Philip Glass. "Lustre has given us far more speed, accuracy and performance," said Marty Pepper, head of Digital Film at Oasis Post. "Lustre sits perfectly in our pipeline. We had an easy learning curve because of our familiarly with the Autodesk user interface. The really nice thing about it is that I can literally work on one 2K project and switch to another HD project within a minute, so we can efficiently handle several projects at once."


Prasad EFX, a division of Prasad Corporation Ltd of India, is a pre- and post-production house that has delivered stunning visual effects for more than 200 feature films, and converted over 25 digitally shot Indian and foreign language motion pictures to film. At the heart of the division’s streamlined workflow are four Lustre systems together with one Flame, three Smoke and several seats of Autodesk 3ds Max. This allows them to provide a digital pipeline that can accommodate everything from 2D and 3D animation, compositing, digital opticals and high-end visual effects through to creation of a high-quality universal digital elements, and DI. "The digital intermediate process is gaining acceptance with Indian movie makers, as it provides them with greater control while enhancing creativity and reducing costs. We’ve been working with an Autodesk digital film pipeline for a while now. For Sivaji, one of the latest films we are working on, we used Lustre to create the required look and mood,” said Mohan Krishnan, Head of Corporate Communications at Prasad EFX.


Mumbai-based Pixion, with a 15,000 square-foot facility in Bandra, the centre of Bollywood, is the first company in India to provide a complete 4K DI pipeline. It is outfitted with a slate of Autodesk Media & Entertainment products, including seven Smoke, two Flame and three Lustre systems. “DI in India has been adopted by the commercial film industry at a fast pace and today it has become an essential – rather than an aspirational – technology. Lustre is pioneering the DI adoption allowing the cinematographer vision to come alive real-time on the big screen.” said Naresh Malik, CEO of Pixion. With a dedicated film-focused studio, Pixion caters to some of Bollywood’s biggest producers.

Chennai-based Ocher studio, a post-production studio in the South started operations in Feb 2005 and has already become a much sought after destination for visual effects and DI in feature films for, ad films, music videos and TV shows. “Autodesk Lustre is one of the best creative grading architecture. It is easy to use and produces stunning results,” said Soundarya Rajnikanth, CEO & MD Ocher Studios

Seven Crest Communications which started out as an offline facility, has grown into a complete DI facility. The company decided to invest in Autodesk Lustre to build their grading pipeline to meet increasing demand. “What attracted us most to the Autodesk Lustre solution was its scalability and the ability to match the needs of smaller facilities as powerfully as that of a complex DI pipe,” said Managing Director S. Kumar.

Since its establishment in 1979, Taipei Motion Picture Corp (TMPC) has become the only facility integrating professional film laboratory and comprehensive video post-production in Taiwan. They provide services for customers in cinema, TVC, TV drama, MTV and documentaries. “We are continually investing in the latest technology and equipment to provide the best quality and services to our customers” said Charles Hu, chairman of TMPC. “The adoption of Autodesk Lustre 2007 digital color grading system has been a huge improvement to the DI workflow in our facility”.

Besides these professional commercial houses, Autodesk Lustre has also been adopted by the Beijing Film Academy, the most influential school for motion picture and television programming in China. Established in 1950, the school has invested in several systems including Inferno, Smoke, Flame and Lustre. “It is very important to catch up with the international standard in talent fostering,” says HongHai Wang, director of Beijing Film Academy Fine Arts Department. “Having high end post production systems such as Lustre, Inferno, Smoke and Flame, which are well accepted worldwide, is the key to cultivate first class post-production talent.

Autodesk Launches Lustre 2008 Digital Color Grading System

Enables Creative Color Grading throughout Post-Production Process; Supports American Society of Cinematographers’ Color Decision List

Autodesk, Inc. (NASDAQ: ADSK) today announced the Autodesk Lustre 2008 digital color grading system. Lustre has shaped colors and lighting in hundreds of feature films, trailers and TV shows, including Balls of Fury, El Cantante, Children of Men, Babel, King Kong, Cane, Pushing Daisies and Swingtown. Lustre 2008 will be showcased at Autodesk stand #7-420 during the International Broadcasters Convention 2007, held in Amsterdam’s RAI Convention Center, September 7-11.

“Around the world, Autodesk Lustre is used to enhance lighting, cinematography and storytelling in films and TV content,” said Stig Gruman, vice president of Advanced Systems, Autodesk Media & Entertainment. “Lustre 2008 equips colorists with even more creative flexibility and includes a new multi-layer timeline. Colorists can experiment with look creation earlier in the post-production process. As well, Lustre 2008 offers a better workflow that leads to faster project completion and ultimately offers greater value for all types of productions.”

Companies rely on the Lustre system’s advanced creative capabilities, as well as its cost-effective performance that is made possible through Graphics Processing Unit (GPU)-acceleration, pipeline flexibility and facility-wide application interoperability.

Andreas Rostock, managing director at Sonne Postproduction in Denmark, said, “At Sonne, we’re ready to take on any kind of project, from feature films to music videos, but we specialize in commercials. We’ve developed a workflow that gives us the flexibility needed to take on any type of job and Autodesk Lustre fits well into our process. The new multi-layer timeline in Lustre 2008 will give us greater workflow flexibility in terms of how we conform, while the rich grading toolset will allow us to expand our creative capabilities to deliver a higher-quality product to our customers.”

Chris Jacobson, colorist at LaserPacific Media Corporation, also sees great value in the Lustre workflow, particularly as it relates to the interoperability between Lustre and the Autodesk Smoke editing/finishing system. Jacobson commented: “We can easily share media between Lustre and Smoke with no time-consuming rendering in between, thanks to Autodesk’s Wiretap technology. In essence, the editorial and digital intermediate color sessions can happen simultaneously, making our clients very happy. With a pipeline like this, you really can be in two places at once. It brings multi-tasking to a whole new level.”


Highlights of Lustre 2008

New creative tools:

· The new multi-layer timeline gives colorists gestural tools to quickly create editorial, shot and grade versions of their project. Colorists can experiment with multiple looks on a single shot, as well as easily applying a look across multiple shots.

· With the automatic region tracker, colorists can track elements of a scene faster than ever before. Colorists can specify an image region and Lustre figures out the rest, automatically analyzing inside the region in order to apply scaling and rotation to secondary geometries.


Workflow and performance improvements:

· Lustre 2008 supports The American Society of Cinematographers’ Color Decision List (ASC-CDL). The ASC-CDL was developed to ensure that images appear the same when displayed in different places on different platforms. This leads to look consistency across the various stages of post-production, from on-set look creation to the final grade. Lustre 2008 allows colorists to import multiple CDLs, either as Slope-Offset-Power (SOP) values in an edit decision list (EDL), or as files referenced in the EDL comments, to which CDL data can be applied on a per-shot basis in the Lustre timeline.

· The Lustre system’s grading functions now include additional GPU-acceleration of secondary grading capabilities, including geometry blurring and inside/outside grading, as well as GPU-accelerated playback for plug-in effects such as Blur Mix, Print Bleach and Glow. These improvements speed up the look-creation process.


For a complete list of new features and enhancements in Autodesk Lustre 2008, visit www.autodesk.com/lustre

Autodesk Media and Entertainment launches 12 City Roadshow

Autodesk, Inc. (NASDAQ: ADSK), today announced that it will embark on a 12 city roadshow across India beginning with Hyderabad on September 11, 2007. In line with the recent launch of the company’s new range of products including Autodesk® 3ds Max®, Autodesk® Maya® and Autodesk® MotionBuilder™ (M3), the roadshows are expected to reach out to the company’s customers and channel partners across the spheres of animation and design visualization.

The roadshows are a part of Autodesk’s continuous efforts to impart quality training and educate the channel partners and customers about the company’s India strategy as well as new products. The company plans to conduct 12 road shows across cities including Mumbai, Delhi, Bangalore, Chennai, Hyderabad, Kolkata, Pune, Indore, Jaipur, Chandigarh, Indore and Trivandrum.

Commenting on the roadshows Mr. Sheraz Hasan, Marketing Head, Autodesk Media and Entertainment said “Autodesk has consistently been launching new and improved versions of its software into the Indian market and we believe that it is essential to educate our customers about these. The 12 city roadshow is a step in this direction and with the broad range of cities we are covering; we hope to reach out to a varied customer base.”

Roadshow Schedule


Hyderabad Sept 11, 2007

Chennai Sept 12, 2007

Mumbai Sept 13, 2007

Delhi Sept 18, 2007

Bangalore Sept 19, 2007

Jaipur Sept 22, 2007

Ahmadabad Sept 24, 2007

Indore Sept 26, 2007

Kolkata Sept 27, 2007

Trivandrum Sept 28, 2007

Pune Sept 29, 2007

Chandigarh Oct 05, 2007

Autodesk Launches New Versions of Visual Effects and Finishing Systems

Autodesk Launches New Versions of Visual Effects and Finishing Systems for High-Value Content Creators

Facility-wide Improvements with Open File System, Shared Storage and 100 Percent Clip Compatibility

Autodesk, Inc. (NASDAQ: ADSK) today announced the 2008 releases of the Autodesk Inferno, Autodesk Flame and Autodesk Flint visual effects systems, as well as the Autodesk Fire and Autodesk Smoke editing/finishing systems. These new releases are offered on Linux-based PCs, making Autodesk’s visual effects and editing/finishing products more accessible to both high-end and mid-range markets. The new releases deliver open file systems, allowing for improved interoperability with third-party applications, as well as 100 percent clip compatibility across the Autodesk visual effects and editing/finishing pipeline.


Autodesk’s visual effects and editing/finishing systems have shaped countless award-winning projects, such as the Spider-Man 3, Transformers and Fantastic Four: Rise of the Silver Surfer films, as well as Coca-Cola’s Happiness Factory and Lexus’ Hydrant commercials. The 2008 product versions will be showcased at the Autodesk stand (#7-420) during the International Broadcasters Convention 2007, being held at the RAI Convention Center in Amsterdam, September 7-11, 2007.


“Autodesk’s new visual effects and editing/finishing releases will create new workflow possibilities, allowing customers to share media throughout their facility using either direct-attached storage, storage area network (SAN) or network-attached storage (NAS) configurations,” said Stig Gruman, vice president of Advanced Systems, Autodesk Media & Entertainment. “This ability to interoperate with all technologies present in the post-production facility greatly enhances collaboration and data management, which in turn, opens up new markets, including mid-range post production and broadcast.”


Indianapolis-based WTHR TV NBC 13 became the first local station in Indiana to broadcast a newscast in high definition (HD). “Now the potential to put more Autodesk systems into mid-level post and broadcast facilities is real, due to Autodesk’s new standard file system support, Autodesk Wiretap technology and third-party tools that bind the whole facility together,” commented Brian Mulligan, WTHR’s senior editor and Autodesk Smoke system artist. Autodesk Smoke was used to create WTHR’s Eyewitness news promo branding and Super Bowl promos.


In addition, the 2008 releases feature an updated user interface (UI) that is streamlined across the products, making it easier for artists to switch between applications. The new UI also provides the user with more tools on the desktop. Alex Ortoll, visual effects supervisor at Estudios Alcine and Flame artist said, "The new 16:9 interface puts many more tools right at my fingertips, thus greatly reducing the need to dig through layers of sub-menus. Though it took me a couple of days to build new ‘muscle memory’ on the new layout, speed improvements are now quite noticeable." Estudios Alcine recently used Flame to create the epic film The Heart of the Earth and is currently working on the feature film Open Graves in Spain.


Highlights of Autodesk’s 2008 Visual Effects and Editing/Finishing Systems

New toolsets and workflow improvements:

· New standard file system support improves facility workflow, allowing systems and third-party applications to instantly share clips without the need for media duplication, and to work with media natively off a SAN or NAS storage device.

· Enhanced concurrent workflows between visual effects, editing and grading are now possible due to metadata handling and Infiniband networking improvements.

· OpenEXR software support and enhanced Autodesk FBX software support create powerful interoperability between Flame and Autodesk Maya software. The visual effects products can now import NURBS objects and artists have the ability to match their compositions with the 3D department by exporting camera data, as well as axis positions and 3D point clouds.

· 100 percent compatibility between Flame and Smoke setups and clips enables round-tripping of clips and metadata between visual effects and finishing product lines.

· New multi-layer timeline and audio tools in Flame, Flint, and Inferno improve flexibility and interoperability with Smoke and Fire.

· Redesigned 16:9 user interfaces put more tools at artists’ fingertips.

· New Smoke and Flame user interfaces allow a more intuitive switch from one application to the other.

· On-screen tool tips have been added to enhance the user experience.

· Enhanced DVE 3D compositing environment in Fire and Smoke delivers more visual effects power and a look and feel that makes it easier for artists to switch back and forth between Smoke and Flame. New Expressions toolset eliminates manual keyframing techniques, allowing artists to quickly create animations.


Also included in these releases are features that were originally introduced in the 2007 Extension 1 release, previously available only to Autodesk subscription customers. For a complete list of new features and enhancements in the 2008 versions of Autodesk Inferno, Autodesk Flame, Autodesk Flint, Autodesk Fire, and Autodesk Smoke, visit: www.autodesk.com/me

Autodesk anticipates that its 2008 releases of Inferno, Flame, Flint, Fire and Smoke will be available in autumn 2007. New 2008 systems will ship on HP 9400 workstations running the Linux operating system.

Autodesk’s 3D Software Shapes Highly Anticipated Korean Massively Multiplayer Online Games

Autodesk’s 3D Software Shapes Highly Anticipated Korean Massively Multiplayer Online Games

Leading Korean game developers NCsoft (KOSPI: 036570), Webzen (NASDAQ: WZEN and KOSDAQ: 069080) and Gravity (NASDAQ: GRVY) are relying on Autodesk, Inc.’s (NASDAQ: ADSK) 3D modeling, animation and rendering software to deliver some of the most-anticipated massively multiplayer online games (MMOGs). MMOGs enable millions of players to simultaneously interact in an online game. Characters, objects and entire worlds for the AION, Huxley and Ragnarok Online II upcoming MMOG titles are being shaped with Autodesk products.


“Online games have become a major part of Korea’s entertainment culture, and Korea is a hotbed for game development innovation,” said Marc Petit, senior vice president, Autodesk Media & Entertainment. “We’ve seen an explosion of massively multiplayer online games in the past five years. Our clients NCsoft, Webzen and Gravity are raising the bar for MMOGs around the world, and they’re relying on Autodesk’s 3D software to create award-winning, lucrative game titles.”


Established in 1997, NCsoft is a leading developer and publisher of online computer games, with offices in Korea, the United States, Japan, the United Kingdom, China, Taiwan and Thailand. Its 1998 launch of the MMOG Lineage has attracted more than 3.5 million subscribers. NCsoft plans to launch AION, a new massively multiplayer online role-playing game (MMORPG), in 2008. Set within a mythical world, AION is a story about Angelic and Demonic races confronting each other and fighting the common threat of a Draconic race. Characters can move through the sky and use flying tactically to win combat.


Kim Hyung Joon, art director and art team manager at NCsoft, said, “AION is an ambitious MMORPG in which battles take place everywhere with true 3D movement. Players can fly on wings to explore beautiful, detailed worlds. They can also engage in dynamic combat with various styles and strategies.”


Joon continued: “At NCsoft, we wouldn’t be able to realize our vision for AION without Autodesk 3ds Max. Productivity and standardized workflows are key for our 80-artist team. By using 3ds Max, we have an efficient, stable asset creation pipeline. As well, the 3ds Max software’s pervasiveness makes it easier for me to recruit new artists, since there’s a large 3ds Max talent pool in Korea and around the world.”


Webzen is a global digital entertainment leader with studios in Korea, China, Taiwan and the United States. Webzen developed MU Online, Korea’s first-ever online 3D game. In November 2006, the company began commercialized service of Soul of the Ultimate Nation, which was the first title to incorporate console-style game mechanics into a classic MMORPG.


Using Autodesk 3ds Max and Autodesk Maya 3D modeling, animation and rendering software, Webzen continues to develop Soul of the Ultimate Nation and is creating Huxley, a massively multiplayer first-person shooter game. Huxley takes place in a post-apocalyptic world where human beings have mutated and are divided into two opposing races, Sapiens and Alternative.


Hyun Gyung-up, creative artist of Soul of the Ultimate Nation Studio at Webzen, said, “In May 2007, Webzen’s Soul of the Ultimate Nation enjoyed a 400,000 simultaneous player record. Our game is renowned for its rich 3D characters and environments, which we develop using Autodesk 3ds Max and Autodesk Maya. We’ve standardized our asset creation pipeline on Autodesk products because of their extensive toolsets, interoperability with one another and third-party applications, and efficiency in handling large datasets.”


Founded in 2000, Gravity is a global entertainment company that has fuelled the growth of the Korean online game industry with Ragnarok Online, the country’s leading MMORPG. Gravity is using 3ds Max to create Ragnarok Online II, which features full-3D graphics and is based on Norse mythology. Gravity has evolved the bubble emotes found in the original game with sophisticated character expressions in the sequel title.


Park Young Woo, Ragnarok Online II producer at Gravity, commented: “Characters in Ragnarok Online II were primarily created with Autodesk 3ds Max. Our goal was to create cute yet extremely expressive and natural facial animations for all characters. 3ds Max enabled us to model, animate and render ideal characters that retain the cuteness of the original Ragnarok anime characters, while delivering livelier expressions and more convincing social movements.” Gravity is also using 3ds Max on the upcoming MMOGs Requiem Online, Pucca Racing and W-Baseball.

Autodesk Introduces New Animation Academy Curriculum for High School Students

Curriculum Expands Students’ 3D Animation and Academic Skills; Now Includes Autodesk 3ds Max and Autodesk Maya

Autodesk, Inc. (NASDAQ: ADSK) has released the 2008 version of its popular Animation Academy for Autodesk 3ds Max and Autodesk Maya software products. Autodesk Animation Academy is the premier visual communication program for secondary schools wishing to bring mathematical, technical, scientific and artistic subject matter to life. The team-based curriculum teaches students sophisticated 3D visualization and animation skills with the same technology that is used by professionals in the media and entertainment industry.

The 2008 release of Animation Academy is available globally for both the 3ds Max and Maya 3D modeling, animation and rendering software products. Animation Academy for 3ds Max is available to Windows operating system users. Animation Academy for Maya is available to secondary schools teaching on the Macintosh and Windows platforms.

David Della-Rocca, education product manager for Autodesk Media & Entertainment, said, “The demand for skilled workers who have a firm grasp of visual communication and animation is on the rise in entertainment, as well as in many other arts- and design-focused industries. The Autodesk Animation Academy helps propel students into exciting careers by familiarizing them with the latest 3D software, while supplementing their critical thinking, design and communication skills across academic disciplines.”

Autodesk Animation Academy curriculum is already being taught in secondary schools throughout North America, Australia, Hong Kong and Singapore. It provides a team-based, cross-discipline curriculum aligned to U.S. academic standards. The curriculum was developed specifically for secondary schools by experienced educators and technical experts. It encourages students to explore specific topics, such as the physics of planetary motion, archeological reconstruction of the Parthenon, the digestive system and more. Students then use the 3D animation technology of Autodesk 3ds Max and Autodesk Maya to demonstrate and present what they have learned.



Key Features of Autodesk Animation Academy 2008

· Maya 2008 and 3ds Max 2008: Animation Academy is now based on the latest versions of both of the Autodesk 3D modeling, animation and rendering products.

· Capstone Project: This new part of the curriculum is intended for an independent study class that simulates the experience of a real-world 3D design job. Students begin with a “client” interview to determine how the client’s job could be made easier with the use of 3D visualization. Students then bring the client’s vision to life using 3D design technology from Autodesk.

· Lessons: Planetary Mechanics, Archaeological Reconstruction of the Parthenon, Digestive System, Weather Systems and Tornadoes, Forensics and Facial Reconstruction.



Animation Academy 2008 meets the following U.S. academic standards:

· Science: National Council for Science Education Standards Assessment (NCSESA)

· Math: National Council of Teachers of Mathematics (NCTM)

· Language Arts: National Council of Teachers of English (NCTE)

· Technology: International Technology Education Association (ITEA) is used as a base, with additional compliance to psycho-motor standards that are common in many states.

In addition, the curriculum aligns with the National Science Foundation’s Visualization in Science and Technology Education (NSF VISTE) project materials.



To learn more about Animation Academy, please visit www.autodesk.com/animationacademy

Prasad EFX uses Autodesk Lustre to tell the untold story “Gandhi, My Father”

Autodesk, Inc. (NASDAQ: ADSK), today announced that Prasad EFX, the leading post-production house used Autodesk’s Lustre colour grading and colour correction system for the Digital Intermediate (DI) process in the season’s latest blockbuster, “Gandhi, My Father”. A first for the industry, the film was the first Hindi feature to be scanned in 4k resolution – a pioneering effort by Prasad EFX.

Set in the early 20th century and trying to tell a story that has never been told before, Prasad EFX’s challenge was to create a look and feel that has never been attempted by the industry. However, The Autodesk Lustre has been used to great effect to achieve this in the film. The 4K scanning allowed the cinematographer to make his vision come alive on the big screen real time during the post production and colour grading process. Additionally, Lustre provided the technicians with color timing aids helping them to achieve the required effect for each sequence.

Commenting on the look of the movie, Mohan Krishnan, Head of Corporate Communications, Prasad EFX, said, “Autodesk Lustre has always helped us capture the creative thought of the film maker and to actually deliver envisioned finished product. This time too, we have been able to optimize the DI process to the fullest to create a unique look of the Gandhian era.”

Pankaj Kedia, Regional Manager for South East Asia, China and India, Autodesk’s Media & Entertainment Division, said, “Over the years DI has been adopted by the commercial film industry at a fast pace and today it has become an essential rather than an aspirational technology. Every filmmaker today is keen to create a visually appealing product and this trend has permeated also in to the new genre of film-making where the story is more focused on capturing the emotional intensity of the characters. Gandhi, My Father is a great example of this; the storyline is narrated in a powerful way by Prasad EFX using Autodesk’s Lustre digital color grading tool.”

Autodesk Technology Heats Up the Big Screen with Action, Adventure and Animation

Digital artists around the world relied on Autodesk, Inc.’s (NASDAQ: ADSK) media and entertainment solutions to deliver this summer’s blockbuster entertainment. Transformers, Fantastic Four: Rise of the Silver Surfer, Surf’s Up, Pirates of the Caribbean: at World’s End, Penelope and countless other feature films have been created using Autodesk technology.

“Autodesk software offers creative solutions that help artists raise the bar, push boundaries and deliver visual masterpieces that make for a truly authentic movie experience each and every time,” said Marc Petit, Autodesk Media & Entertainment senior vice president. “This summer’s blockbusters offer something for everyone, including surfing penguins, hammering llamas and transforming superheroes. We continue to support and applaud those artists who create magical images, transporting audiences to exhilarating new heights.”

Captain Jack Sparrow (Johnny Depp) and his posse returned in the long-anticipated trilogy, Pirates of the Caribbean: At World’s End. Post-production facility Asylum completed 315 shots with a visual effects pipeline that included the Autodesk Flame and Autodesk Toxik visual effects solutions, Autodesk Maya 3D animation software, and Autodesk Lustre digital color grading system.

In one scene shaped by Asylum using Flame, Sparrow is exiled to a desert purgatory where he begins to hallucinate and sees 20 clones of himself dressed as his crew. The Flame system was also used to create the climactic maelstrom backdrop along with computer-generated characters, mast extensions on miniature ships and track shots.

Toxik was used for compositing, color correction, and final tweaks.

Industrial Light & Magic (ILM) was the main visual effects house for Pirates of the Caribbean: At World’s End. ILM used Maya and Flame as part of its proprietary SABRE visual effects system to create computer-generated characters and Maelstrom sequence.

Michael Bay’s summer powerhouse Transformers exploded onto the big screen as evil Decepticons re-wage war on heroic Autobots. ILM used Maya and Inferno as part of its proprietary SABRE visual effects system to complete 460 shots for the film. Maya was used for all character animation, including the challenging opening sequence in which a robot attacks an American military base in the Middle East.

Autodesk Inferno was used on two key compositing sequences, including the Bonecrusher scene where a destructive 30-foot rollerblading robot shreds through a moving bus. The robot’s bones were created using Maya and imported into Inferno, and were animated and combined with flying and burning debris.

Mark Casey, ILM’s SABRE/Inferno artist, explained: “Creating and combining production plates, particle elements, computer-generated elements, practical pyrotechnics, and lens flares all in one shot can prove challenging and intimidating; knowing that all these elements can be tamed in Inferno is all the reassurance any artist needs.”

Fantastic Four: Rise of the Silver Surfer soared on the big screen, showcasing a battle between the powerful Silver Surfer and the planet-eating Galactus. The Orphanage completed approximately 120 shots on the film, with the majority of shots involving Maya 3D animation software.

"Fantastic Four: Rise of the Silver Surfer presented us with an ever-changing array of challenges, from superpowers to surfboards. Maya was there for us at every step, allowing us to develop complex new effects easily and quickly," explained Stu Maschwitz, VFX supervisor at The Orphanage.

Up-and-comer surfer extraordinaire, Cody Maverick (Shia Labeouf), takes audiences on an animated journey in Surf’s Up, from Sony Pictures Imageworks. The wizards at Sony Pictures Imageworks used Autodesk Lustre color grading system for the film’s final grade. Also, a combination of software was used to create the final water animation, with much of it completed using Maya. “Maya is the core of the front-end pipeline at Imageworks,” explains Mike Ford, character set-up supervisor. “It is used for modeling, layout, animation, and some effects work.”

By leveraging the power of Maya Embedded Language (MEL) Python and Maya’s API scripting, the Sony Pictures Imageworks team customized the Maya software to overcome many of the film’s challenges. Comments David Schaub, animation director at Sony Pictures Imageworks, “We never have the question, ‘Well, can the software do that?’ Because if it doesn’t, the way Maya is built allows us to create a tool that will do the job.”

Modern-day fable Penelope is the story of pig-nosed Penelope Wilhern (Christina Ricci) and her family’s secret curse. Double Negative turned to Maya to create the complicated computer-generated tree that helps tell the tale in the film’s opening. The complex construction of the growing tree involved building the basic tree shape, including the trunk and main branch structure, using blend shapes to go from one small shape to one big shape, and using a combination of plug-ins to populate the smaller branches and leaves.

The Reaping, Are we Done Yet?, I Now Pronounce You Chuck & Larry, and Hairspray were films completed with EFILM using the EWORKS color grading system to complete the digital intermediate. The EWORKS system consists of a proprietary configuration of Autodesk Lustre and Autodesk Incinerator technology.

Other summer films created using Autodesk solutions include:

· Evan Almighty: Rhythm + Hues used Autodesk Maya to create computer-generated characters and CafeFX used Maya to model and animate sixty CG salt-water tropical fish

· 28 Weeks Later: Prime Focus London used Autodesk Flame, Inferno and Smoke to create all of the film’s photorealistic 3D shots, including the napalm bombing sequence of London’s Canary Wharf

· Live Free or Die Hard: Digital Dimension completed 182 shots using Autodesk 3ds Max to create 3D cars, 3D buildings, 3D crowds, 3D smoke and matte painting



About Autodesk

Autodesk, Inc. is the world leader in 2D and 3D design software for the manufacturing, building and construction, and media and entertainment markets. Since its introduction of AutoCAD software in 1982, Autodesk has developed the broadest portfolio of state-of-the-art digital prototyping solutions to help customers experience their ideas before they are real. Fortune 1000 companies rely on Autodesk for the tools to visualize, simulate and analyze real-world performance early in the design process to save time and money, enhance quality and foster innovation. For additional information about Autodesk, visit www.autodesk.com.