FEATURE PROMAX AWARDS 2011
NEVERLAND: WHERE DID IT ALL BEGIN
CHANNEL Sky Movies TX First quarter 2011
BRIEF Tease the audience with the Sky Movies production Neverland, the prequel to Peter Pan
TECH AND TECHNIQUE The Sky Creative team said they wanted to create a standout piece of work that felt “magical”, with the same high production values as the film. The promo team used Pixologic Zbrush
to create the digital sculpture of the hook from scratch to give it a realistic look, rather than something that was obviously modelled in CG. Autodesk Maya 2012 was chosen to animate Tinkerbell, and for the lighting and rendering of the scenes. Maya N-Particles and Maya Fluids were then used to create the magical back- ground and Tinkerbell’s particle trail. After numerous tests to get the move- ment and the general feel right, the main composite was started, with The Foun- dry’s Nuke used for both the compositing of all the CG passes and the final grade. The magic dust, supplied as several elements, was also graded and layered extensively to achieve the look.
CREDITS Sky Creative for Sky Movies Producers: Craig Marsh/Scott Russell Creative: Neil Pavitt Designer: James Shillaw Visual effects lead: Joan Francesc Prieto Amon Creative director: Matthew Scarff
HOME SWEET HOME OF MOTORBIKES
CHANNEL British Eurosport TX February 2011
BRIEF Establish British Eurosport as the home of motorbikes, where viewers can see all the major motorbike series with the most respected commentators. Key to Brit- ish Eurosport’s coverage is the in-depth knowledge of both its commentators and its audience.
TECH AND TECHNIQUE The Eurosport team created the ultimate home for a bike fan, with furniture and furnishings all made of recycled bike parts. To get across the element of knowl- edge and expertise on the part of both the channel and the audience, everything had to be as realistic as possible. Every element within the house and the house itself was painstakingly created in 3DS Max by Duncan Rudd of 3DR Stu- dio. It was rendered using Mental Images Iray technology in the GPU cloud with Peer 1 by Bluegfx, with compositing of the footage done in-house with After Effects. Eurosport said that, from a design perspective, creating an entire stylish and modern conceptual environment that could exist in the real world was the most ambitious project the team had undertaken.
CREDITS Eurosport Senior producer/director: Taro Russell Senior designer: Dene Smith 3D: Duncan Rudd (3DR Studio) Editor: Adriana Mancebo-Portella Rendering: Bluegfx
26 | Broadcast TECH | November/December 2011
www.broadcastnow.co.uk/technology
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