(SAN RAFAEL, Calif., December 21, 2006) From sizzling dramas to science fiction adventures, Autodesk, Inc. (NASDAQ: ADSK) Media & Entertainment solutions are shaping more than 40 new and returning television shows. Numerous post-production facilities are relying on Autodesk visual effects, editing and finishing, and 3D animation, modeling and rendering software to create captivating, future-proofed television content.
“Television programming is at an exciting growth stage. Content distribution methods are changing and growing, providing a variety of new revenue streams. However, content owners also face the challenge of ensuring that content produced today will meet future delivery requirements,” explained Stig Gruman, vice president of Autodesk’s Media & Entertainment systems. “Visual effects facilities choose Autodesk solutions because they enable digital artists to efficiently create and master visually appealing content at the highest resolutions. This investment helps to ensure that content will be compatible with future distribution methods.”
Post-production facility RIOT works with the Autodesk Smoke and Autodesk Fire editing and finishing systems on a variety of primetime hit shows including Deadwood, The Sopranos, Cold Case, Curb Your Enthusiasm, Close to Home, John From Cincinnati and Big Love. The facility has relied on the systems since it started doing HD production more than six years ago.
“At that time, Autodesk Fire was the only real-time, uncompressed HD solution available,” said Robb Cadzow, chief engineer at RIOT. “Today Smoke and Fire are still leaps and bounds ahead of other finishing products available. From real-time 4:4:4 and distributed rendering to SAN playback and integration with VFX systems, Fire and Smoke offer facility integration like no other product on the market today.”
Vancouver-based Rainmaker uses Autodesk Inferno and Autodesk Flame visual effects systems, as well as Autodesk Maya 3D animation, modeling and rendering software for MGM’s science fiction series, Stargate SGI and Stargate: Atlantis. The post house also uses the tools to shape Showtime’s drama series, The L Word. For Stargate SG-1 and Stargate: Atlantis, Rainmaker works on everything from the enhancement of principal photography to the creation of entirely digital shots. Rainmaker’s work on The L Word is more subtle, with visual effects being used to enhance scenes through color correction and image processing.
“Autodesk Flame and Inferno have been the mainstays of our compositing efforts on both television series since day one,” explained Bruce Woloshyn, visual effects supervisor at Rainmaker. “At every level of the compositing process, these products allow us to have complete control over the images. This has been paramount to our success on Stargate for many years. From real-time input/output at both standard- and high-definition, to superior tracking and keying toolsets, these products allow us to produce the highest-quality imagery on a tight schedule.”
Many other visual effects facilities are working with Autodesk solutions to create content for the 2006-2007 TV season:
- MFX uses Flame and Maya on Grey’s Anatomy, Dexter, Two and a Half Men, Notes from the Underbelly, How I Met Your Mother and According to Jim
- Encore Hollywood relies on Inferno, Flame, and 3ds Max to shape Big Love, Rome, CSI: NY, Boston Legal, Monk, Entourage, The Unit, Nip/Tuck, The Closer, My Name is Earl, Deadwood, NCIS, The Loop and House.
- Buzz Image Group uses Flame HD to create The Flood and Killer Wave
- Modern Video Film uses Inferno for visual effects and clean up work on The O.C., Desperate Housewives, Stand Off, Jericho, Shark, Smallville, Vanished, Dirt and Perfect Day
- Look Effects uses Flame, Flint and Maya to shape Criminal Minds and Bones