Category: VFX

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2017 NUKE 11 Southeast Asian Tour by The Foundry

The Foundry and The Media Village are proud to present the ‘2017 NUKE 11 Southeast Asian Tour’, with a special presentation in Singapore on Tuesday, 3 October 2017.

We have 2 very special guest speakers in town:

paul bio

Paul Kirwan of Rising Sun Pictures

Paul Kirwan is a compostitor, broadcast designer, instructor and VFX expert with 20 years experience in the production of high-end photo-real imagery. He has contributed to blockcuster Hollywood films (X-men, Gravity, Transformers, Lord of the Rings, Titanic) as well as award-winning Broadcast Design and television commercial projects.

roy bio

Roy Yang of The Foundry

Roy has worked for the top VFX houses in the industry, including Rhythm & Hues, Digital Domain, and Method Studios. His work includes blockbuster films such as Thor, Wrath of the Titans and Night at the Museum.

Event Details

Date: Tue, October 3, 2017
Time: 3:00 PM – 6:00 PM
Venue: Screening Room, 12 Ann Siang Road, Level 2, Singapore, 069692

Eventbrite - 2017 NUKE 11 Southeast Asian Tour by The Foundry

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Foundry launches Nuke and Hiero 11.0 to power next generation of VFX content

The world’s leading high-end compositing tool reboots with array of exciting new features, including updated VFX Reference Platform, a powerful collaborative workflow for Nuke Studio, and much more.

Creative software developer, Foundry, today launches Nuke and Hiero 11.0, the next major release for the Nuke family of products including Nuke, NukeX, Nuke Studio, Hiero and HieroPlayer.

Building on its reputation as the world’s leading high-end compositing tool, Nuke and Hiero 11.0 align with industry standards and introduce a host of features and updates that will boost artist performance

Key features for this release include:

  • VFX Reference Platform 2017: The Nuke family is being updated to VFX Platform 2017, which includes several major updates to key libraries used within Nuke, including Python, Pyside and Qt.
  • Live Groups: Introduces a new type of group node which offers a powerful new collaborative workflow for sharing work among artists. Live Groups referenced in other scripts automatically update when a script is loaded, without the need to render intermediate stages.
  • Frame Server in Nuke and NukeX: Nuke Studio’s intelligent background rendering is now available in Nuke and NukeX. The Frame Server takes advantage of available resource on your local machine, enabling you to continue working while rendering is happening in the background.
  • New Lens Distortion in NukeX: The LensDistortion node has been completely revamped, with added support for fisheye and wide-angle lenses and the ability to use multiple frames to produce better results. It is now also GPU-enabled.
  • Timeline Disk Cache in Nuke Studio: Nuke Studio now has new GPU accelerated disk caching that allows users to cache part or all of a sequence to disk for smoother playback of more complex sequences.

Jody Madden, Chief Product and Customer Officer at Foundry, commented:

“We’re delighted to announce the release of Nuke and Hiero 11.0 with new workflows for artist collaboration and a renewed focus on industry standards. Nuke, NukeX and Nuke Studio continue to be the go-to industry tools for compositing, editorial and review tasks, and we’re confident these updates will continue to provide performance improvements and further increase artist efficiency.”

More information and videos on the new version may be found on The Foundry website:


mocha Pro Case Study: Titmouse & FOX’s Son of Zorn Step Out with mocha Pro

FOX’s Son of Zorn is a fresh take on the classic fish out of water story — if that story follows a Barbarian cartoon character (Zorn voiced by actor Jason Sudeikis) as he leaves his war torn home to reconnect with his human son in real world suburbia. The hybrid animation/live action comedy concept is one of the many projects the wonderful and wacky Titmouse works on out of their three studio locations in Los Angeles, New York, and Vancouver.


Titmouse is a full service animation studio that means it. Titmouse does it all. Writing, storyboarding, design, animation, composite, and editorial for TV, feature films, and commercials. Their clients and projects run the gamut from edgy humor to more traditional animation, including Adult Swim’s Venture Bros and China, IL; Dreamworks/Netflix Home and Turbo FAST; and Comedy Central’s Moonbeam City  to name a few. Plus, they wrapped up their first independent feature film Nerdland  this year that is set to be released in December, and are creating interactive Virtual Art cartoons for the VR realm. Phew!

“Son of Zorn has been the first Titmouse project to integrate mocha Pro heavily into our compositing pipeline,” says Jennifer Ray, Producer for Titmouse and Animation Producer on Son of Zorn. The timeline to create a single episode of Son of Zorn is staggering and shows the depth of Titmouse’s resources and know-how. It takes around 25 weeks, which includes storyboard, editorial, animation, comp, and post-production, after the live action shoot to finish an episode. Titmouse delivers one episode every one to two weeks. “Son of Zorn has a production pipeline that hasn’t really been done before, particularly in the context of television,” continues Ray. “The complexity of the character design and live-action interaction, and the use of Animate (formerly Adobe Flash). This leaves the door open for a lot of ingenuity, as well as potential for inefficiency, so I’m always looking for ways to protect Titmouse’s pipeline and crew and help them be as efficient as possible. The use of mocha, for example, helps our compositors save much needed time.”

“We’ve been using mocha AE for a little over a year and mocha Pro was introduced into the pipeline in September 2016,” states Barry J. Kelly, Animation Director for Titmouse and On-Set Animation Supervisor for Son of Zorn. “mocha is pretty easy to learn. Overall we’ve liked the plug-in option. It’s been great to be able to do all of the work within After Effects.” In general, most shots require tracking.

“mocha is able to track areas that have no tracking markers and areas that are blurry with relative ease. And it is very helpful with handheld shots.”

mocha’s planar tracking and roto tools are used extensively for masking and combining the animation with live action footage. “mocha has been particularly useful for time-savings: speeding up output when rotoscoping live action actors and mattes for the animated characters when compositing all the elements for each shot,” says Kelly. In addition to everyday tracking and rotoscoping tasks, Titmouse uses mocha Proon difficult removal shots. Recently, they turned to the Remove Module for a camera pull out shot. The built-in AE camera tracker was unable to clean it. “We put a tracking marker in post to mark the spot where Zorn would be standing,” expresses Kelly. “Since it was not a motion capture camera move, we had no clean plates. But we were able to create 3 plates in Photoshop and it worked seamlessly.”

Son of Zorn succeeds because the world is believable. “The notion that there are animated characters that come from an animated land is not exactly headline news for this version of Orange County,” ends Ray. “That creates an interesting, albeit, high bar of expectation from an animation/compositing standpoint. We must convince the viewer that Zorn is integrated so well that there’s nothing overly extraordinary about it, especially alongside the live action characters he’s playing against.”

Nice Shoes Creative Studio keeps it clean with mocha Pro

In this ‘Project Story’, we meet the folks at Nice Shoes Creative Studio and discover how mocha Pro has become an important tool in their workflow.

In 2014, Nice Shoes, a New York-based coloring and finishing studio, added a team of creative directors, VFX artists and animators to form Nice Shoes Creative Studio. The expansion allows Nice Shoes to deliver a full service production and post-production experience to its feature film, broadcast, music video and commercial clients. Recent credits include: Pitch Perfect 2, Urge, the Cannes Lion-winning pharmaceutical campaign Take it From a Fish, and Pink’s new music video Just Like Fire.

Read the full article from Red Shark here:





Mocha Pro 5.2: Nuke users can now launch Mocha Pro as a node from within a Nuke project

Imagineer has released mocha Pro 5.2 – a significant release with serious improvements, including added support for floating licenses, a new render license option (!), and even faster GPU planar tracking!

New in mocha Pro 5.2

  • New Floating License Support: You can now run both the mocha Pro standalone and mocha Pro plug-in options off one floating license server.
  • New Render License Option: A new Render License option allows users to render projects on a networked render farm or different workstation without taking up a full license.
  • Improved GPU tracking performance: mocha’s planar tracking has been updated to take advantage of supported video card hardware for significantly faster motion tracking. OpenCL GPU tracking in mocha v5.2 is even faster and now supports 16 and 32 bit source images.
  • New Apply Tracking Feature in After Effects Plug-in: You can now apply generated tracking data to other layers via the plug-in interface rather than exporting to the clipboard.
  • Improvements & bug fixes: including improved Python scripting support, improved handling of larger, multi-layer projects and numerous plug-in fixes for Adobe, Avid and OFX.

Read more:

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How Nice Shoes made surreal happen in Pink’s “Just Like Fire”

“It will be a race against time.” – The White Queen

Software used : Autodesk Maya , Autodesk Flame , Arnold Renderer

For Just Like Fire, signature song for Disney’s new film, Alice Through The Looking Glass, director Dave Meyers of Zanmi Films and Strange Invention’s VFX Supe, Todd Sarsfield, teamed with Nice Shoes Creative Studio to immerse pop star, Pink, into the zany ‘Underworld’ as Alice.

Realizing a dreamlike sequence involving 18 versions of Pink atop a life-sized chessboard, as well as lush, digital gardens filled with flowers and trees, Nice Shoes Creative Studio’s Director of CG, Steve Parish, reveals how he and his team fearlessly took on Time to make standout surrealism happen in the striking music video.

Nice Shoes Creative Studio on Pink’s “Just Like Fire” from Autodesk Media and Entertainment on Vimeo.

“It’s about the shortest amount of time I can image having to achieve such a thing in. It was kind of insane, actually.”

Read more: