Guildford, UK -- Imagineer Systems (www.imagineersystems.com) announced it will showcase its newest versions of mocha Pro and mocha AE, at SIGGRAPH 2012 in Los Angeles next week. Imagineer also announced it will be showing a technology preview of the upcoming mocha v3.1. This release will add significant new tools for lens distorted footage, Python scripting, RED support and new features to help roto artists work more efficiently.

Additionally throughout the show, Imagineer Systems will also host guest artists from the visual effects industry who will be showing example of their work. Guests artists include:

• David Shorey - Visual Effects Artist (Supah Ninjas, Mission Impossible: Ghost Protocol)
• David Blum - Visual Effects Artist and Trainer (Charlie's Angeles, Art Institue)
• James Chick - lead compositor from Hive FX will show work from NBC's Grimm.
• Legend 3D - (Spiderman, Hugo) will discuss how mocha Pro fits into their VFX and stereo conversion process.

The schedule of demonstrations is available here: http://www.imagineersystems.com/company/events/imagineer-systems-at-siggraph-2012.-los-angeles-ca. 

Since its release at NAB 2012 earlier this year, mocha AE v3 and mocha Pro v3 have quickly become popular among Hollywood’s leading post production houses and VFX artists, and have played key roles in the post production of this summer’s hit films, including Prometheus and The Amazing Spiderman. 

Ash Beck is the owner and lead visual effects artists of Nerve Films (http://www.nervefilms.us), a full-service creative studio specializing in live-action visual effects, photography and design, spoke about mocha Pro v3 and its role on this summer’s blockbuster, The Amazing Spiderman. 

“The Amazing Spiderman was a perfect fit for our studio,” said Ash. “I designed the New York backgrounds for several key sequences during the pre-vis stage and was hired by the production to work directly with VFX supervisor Jerome Chen, editor Alan Edward Bell, as well as the director Marc Webb. We were able to see the challenges ahead and concentrate our efforts on what tools would be the most proficient for the final composites. I have been using mocha for four years, and with the inclusion of mocha in Adobe After Effects, it just made sense for our workflow. Part of the challenge on Amazing Spiderman was that we had many plates with a shallow depth of field and only one small architectural feature, diagonal in shape and with little contrast to grab on to. We tried other trackers too, but they could not quite make out the detail, nor the continuation of action when elements went off screen during the tilts and pans. We track both forward and reverse and mocha’s Planar Tracker always gave us the results we needed.”