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  • AOTG

    Red Giant Releases Magic Bullet Denoiser II

    February 28, 2012, 3:37 pm
    Portland, OR (February 28, 2012) – Red Giant today released Magic Bullet Denoiser II, a completely re-built version of its popular Denoiser 1.0 tool for removing unwanted noise and artifacts from video footage. Available as a free update for Denoiser 1.0 and Magic Bullet Suite customers...

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  • Other Postings By Member

    • RT Projects in Animation, VR, and Gaming
      VFX

      RT Projects in Animation, VR, and Gaming

      July 28, 2017, 9:18 am
      Over the years, the SIGGRAPH conference has had to adapt to changes in computer graphics and interactive technologies. One ‘track’ introduced in 2009 was Real-Time Live, designed to showcase developments in real-time graphics in games, rendering, and interactive simulations – but even this part of SIGGRAPH has had to evolve since its inception.

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    • VALERIAN: Scott Stokdyk (Overall VFX Supervisor)
      VFX

      VALERIAN: Scott Stokdyk (Overall VFX Supervisor)

      July 28, 2017, 9:18 am
      In 2013, Scott Stokdyk told us about the work of Sony Pictures Imageworks on OZ THE GREAT AND POWERFUL. He then took care of the visual effects of DELIVER US FROM EVIL and THE 5TH WAVE.

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    • PIXAR Deep Dive on SSS - Preview
      ANIMATION

      PIXAR Deep Dive on SSS - Preview

      July 28, 2017, 9:18 am
      Pixar's RenderMan is one of the most respected pieces of software in the industry. We look at the new release and it's two new Sub Surface Scattering Brute Force approaches.

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    • Pro Sound Awards: Not long left to nominate your R
      SOUND

      Pro Sound Awards: Not long left to nominate your R

      July 28, 2017, 5:48 am
      With preparations now underway for the 2017 Pro Sound Awards, we at Audio Media International are now on the hunt for our next pro audio Rising Star, and there is now just one week left until the deadline for entries.

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    • AOTG
      EDITING

      EditReady 2.0.3 Released

      July 28, 2017, 5:48 am
      We just posted a new release, EditReady 2.0.3, which improves playback performance and resolves a handful of issues. It is recommended for all users.

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    • AOTG
      ANIMATION

      VALERIAN: Previs reel by Halon

      July 28, 2017, 5:48 am
      Halon presents their previs work on VALERIAN AND THE CITY OF A THOUSAND PLANETS...

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    • AOTG
      VFX

      Jellyfish Pictures Launches VFX & Animation Techno

      July 27, 2017, 4:17 pm
      New cloud hybrid rendering and virtual studio platform for VFX and animation studios to be introduced at SIGGRAPH 2017.

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    • 'Arrival,' 'Dunkirk' and the Distraction of Nonlin
      EDITING

      'Arrival,' 'Dunkirk' and the Distraction of Nonlin

      July 27, 2017, 12:55 pm
      When people tell me to just turn my brain off and enjoy a movie, I wish that it were so easy. I’ve been trained to overthink films as I watch them. I have two degrees in the study of cinema. I can’t ignore what I know or how I’ve been wired to always analyze images I’m seeing on screen as they’re cut together any more than a mechanic can stare at a puttering motor and pretend not to know how to fix it.

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    • Dunkirk and the Very Loud Sounds of War
      SOUND

      Dunkirk and the Very Loud Sounds of War

      July 27, 2017, 12:55 pm
      To help convey the “visceral realism” of Christopher Nolan’s “Dunkirk,” the director needed an intense soundscape for the legendary evacuation of more than 300,000 British and Allied troops under German bombardment.

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    • The Visual Affects of Reality
      VFX

      The Visual Affects of Reality

      July 27, 2017, 12:55 pm
      Two days after wrapping on the $65 million dollar budget film Pete’s Dragon, David Lowery headed home to Texas to make a small film (literally, the aspect ratio is 1.37:1) with a group of friends called A Ghost Story. The budget? $100,000. In itself, the budget is a good marker of how different the films are. And yet in both films, Lowery uses visual effects in a very calculated and affecting way, two qualities that are often lacking in effects-heavy films nowadays. Indeed, many an article has been written about the CGI overkill in Hollywood franchises. In his article for Variety on The Age of Ultron, Brian Lowry argues that “the ability to mount enormous battles featuring multiple super-powered characters, however, has become its own trap. And while the results can be visually astounding, the movies regularly feel as lifeless and mechanized as the technology responsible for bringing those visions to fruition.”

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