Posts tagged Jogger
Ben Looram of Chapeau Studios, Andy Brown of Jogger, and Marc Côté of Real By Fake in postPerspective's VFX Roundtable

postPerspective has shared their post-SIGGRAPH Visual Effect Roundtable. They asked professionals from across the VFX industry questions about the upcoming technologies that will impact their field, from realtime raytracing to using game engines in VFX production. Three Hypesters, Ben Looram of Chapeau Studios, Andy Brown of Jogger, and Marc Côté of Real By Fake, were among the professionals who participated. Here are just a few of their highlights from the Roundtable:

Ben Looram of Chapeau Studios

Ben Looram of Chapeau Studios

Ben Looram:

postPerspective: Are game engines affecting how you work, or how you will work in the future?

Ben Looram: Yes, rendering on device and all the subtle shifts in video fidelity shifted our attention toward game engine technology a couple years ago. As soon as the game engines start to look less canned and have accurate depth of field and parallax, we’ll start to integrate more of those tools into our workflow.
Right now we have a handful of projects in the forecast where we will be using realtime game engine outputs as backgrounds on set instead of shooting greenscreen.

 

 

Andy Brown:

postPerspective: The Uncanny Valley. Where are we now?

Andy Brown:It always used to be “Don’t believe anything you read.” Now it’s, “Don’t believe anything you see.” I used to struggle to see the point of an artificial human, except for resurrecting dead actors, but now I realize the ultimate aim is suppression of the human race and the destruction of democracy by multimillionaire despots and their robot underlings.

Andy Brown of Jogger.

Andy Brown of Jogger.

 

 
Marc Côté

Marc Côté

Marc Côté:

postPerspective: So what about things like AI/ML or AR/VR? Have those things changed anything in the way movies and TV shows are being made?

Marc Côté: My feeling right now is that we are getting into an era where I don’t think you’ll have enough visual effects companies to cover the demand.
Every show has visual effects. It can be a complete character, like a Transformer, or a movie from the Marvel Universe where the entire film is CG. Or it can be the huge number of invisible effects that are starting to appear in virtually every show. You need capacity to get all this done.
AI can help minimize repetition so artists can work more on the art and what is being created. This will accelerate and give us the capacity to respond to what’s being demanded of us. They want a faster cheaper product, and they want the quality to be as high as a movie.

"The Robots Are Coming" — Jogger Studios' Creative Director Andy Brown For AWN
Andy Brown’s Flame tattoo.

Andy Brown’s Flame tattoo.

But does Machine Learning technology mean the end of artistry? Will editors, designers and visual effects artists still have a place in the future? Could a machine edit a movie and successfully enhance and express the emotion of the story? Does a machine have the ability to create without any human input? Are directors and writers next? The answer to all of this is, most likely, no. The enhancement of human artistic and creative efforts by technology has been a reality since the first cave dwellers decided that drawing pictures on a wall using a stick was better than just using their fingers. Technology is there to be our servant in the creative process, not our master.

Read Andy’s piece at Animation World Network (AWN).

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"An artist’s view of SIGGRAPH 2019" — Jogger Studios' Creative Director Andy Brown for postPerspective
Andy Brown

Andy Brown

While I’ve been lucky enough to visit NAB and IBC several times over the years, this was my first SIGGRAPH. Of course, there are similarities. There are lots of booths, lots of demos, lots of branded t-shirts, lots of pairs of black jeans and a lot of beards. I fit right in. I know we’re not all the same, but we certainly looked like it. (The stats regarding women and diversity in VFX is pretty poor, but that’s another topic.)

You spend your whole career in one industry and I guess you all start to look more and more like each other. That’s partly the problem for the people selling stuff at SIGGRAPH. We all start looking a bit like one each other.

Read Andy’s full write-up at postPerspective.

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Jogger Welcomes Diana Cheng As Head of Production for the US Western Offices
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Jogger is excited to welcome Diana Cheng as Head of Production for the company’s Western offices.  The addition of Cheng enriches the company’s national and international production team as she collaborates with all Jogger locations throughout the US and in London.

“Diana’s brilliant,” says Jogger Creative Director Andy Brown. “It feels great to be welcoming such an exceptional Head of Production to our team at Jogger. She brings with her a wealth of experience and I look forward to working with Diana in the further development of Jogger.”

“Diana and Andy make an amazing team, we are excited to see them take Jogger to the next stage of the company’s development,” adds Michelle Eskin, Managing Partner at Jogger and Cut+Run.

Cheng joins the studio with over a decade of visual effects expertise producing VFX for such noted projects as Nike “Equality” Directed by Melina Matsoukas, and the AICP Show honoree Nike “Vapor Trail” directed by Mark Zibert both for Wieden & Kennedy, Samsung’s very 1st Super Bowl spot “Thing Called Love” directed by Bobby Farrelly for 72andSunny and the Douglas Avery-directed “Audi Force of Nature.”

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All or Nothing: The Michigan Wolverines Premieres On Amazon Prime Video with Dynamic Color By Nice Shoes
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Amazon Prime Video takes viewers behind-the-scenes of “the winningest program in college football” in All or Nothing: The Michigan Wolverines, documenting the team’s 2017 season. The series provides an intimate look at the lives of head coach Jim Harbaugh and his young team of student athletes. All eight episodes of the series premiered on Amazon Prime Video on April 6th. Leading post studio Nice Shoes, led by senior colorist Lenny Mastrandrea and executive producer Tara Holmes, collaborated with Amazon and The Montag Group to color grade and deliver the series with a stunning, rich HDR (High Dynamic Range) look.

As Prime Video has been one of the early providers of HDR content, offering almost all of their original series in HDR, the series needed to be graded in both HDR, and SDR (Standard Dynamic Range). With the two delivery formats, Nice Shoes developed a workflow in conjunction with Color Front, so that the project would be completed without having to grade it twice.

From the very start of the project, Mastrandrea found himself in a unique scenario, as the executive producer Jim Jorden has overseen the color grading process on many projects and post supervisor Christopher Rohlfs is an experienced colorist as well, having worked extensively with both the NFL and Nascar.

“This was a funny - but creatively rewarding - situation. The perspective and feedback I receive from clients is always extremely valuable, but it was interesting to be collaborating with a team that knew color as intimately as I do,” said Mastrandrea. “Especially when dealing with HDR, which offers up such an expanded color space. It was great to essentially be speaking in the same language and technical shorthand.”

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