Massive Software Expands Management Team
Massive Software, developer of the Academy Award-winning 3D animation software for AI-driven characters and digital stunts, announced a company expansion in tandem with the rapid growth of its reach into the film and television production space. Massive has tapped Nick Divehall, former Alias senior manager, for the role of vp of Business Development. Concurrently, Massive announced an initial suite of channel partners to handle product sales in Japan, Australia, Hong Kong, London and Montreal.
Divehall has been entrenched in visual effects and animation since the early 1990s. In his tenure with Academy-Award winning software developer Alias, he was responsible for managing Asia Pacific distribution channels and driving strategic relationships. Divehall’s departure comes on the heels of Autodesk acquiring Alias. He held several sales and marketing positions and played a leading role in developing their business in Asia Pacific. Prior to joining Alias, Divehall built Digital Video Technologies (NZ) Ltd. to be the premier technology supplier to the New Zealand film and visual effects industry. The company was a key supplier to Weta Digital, providing tools and systems to outfit the facility for the THE LORD OF THE RINGS movies.
Commented Divehall, "Massive represents a true innovation in computer graphics and is changing the way their customers approach visual effects and simulation. I am very excited by the tremendous opportunities Massive has to grow its business and the leverage of its market leading and production proven technology."
In the past six months, Massive Software has shipped a new version of its flagship Massive application, and added scores of top-end customers in commercial advertising and movies — from Digital Domain to Method Studios. The company also introduced a brand-new product, Massive Jet, which will open up creation of Massive scenes with hundreds to hundreds of thousands of realistic virtual characters to many more users and markets. Massive is prominent in two of the holiday season’s biggest vfx movies, THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE and KING KONG.
Additionally, Artaya Boonsoong has joined Massive as industry manager, visual effects & animation. A citizen of Thailand, Artaya is from the production universe, where his credits as an animator and lead technical director include CRASH, SKY CAPTAIN AND THE WORLD OF TOMORROW, THE HUMAN STAIN, CHARLIE'S ANGELS II, UNDERWORLD: EVOLUTION and Ray.
Boonsoong began his career as a solo CG artist in Thailand, working on many commercials and films. Relocating to the U.S., he collaborated on numerous games and commercials before founding his own visual effects studio, Luma Pictures, in 2002. The Santa Monica-based company quickly grew from two to include more than 50 employees and Hollywood film credits for creating photorealistic 3D creatures, digital set extensions, atmospheric effects and more. Boonsoong's expertise stretches from hands-on shot supervision and completion to pipeline development, programming and production system setup.
"It's been a busy and exciting year at Massive," said Diane Holland, ceo, Massive Software. "With our range of new products and customers and a groundswell of interest in recent months, we have reached a major phase of expansion and development. Nick and Artaya — two amazingly varied and experienced players in the animation and visual effects field — are key hires who will be helping us take Massive Software the company to the next level."
"Founding and owning a flourishing visual effects studio was a career highlight for me," Boonsoong said. "Coming on board with Massive, the next big thing in computer graphics in my opinion, was another opportunity not to be missed. Massive solves one of our biggest vfx challenges: creating convincing, intelligent crowds, and does so elegantly, with every aspect geared towards speed, efficiency and smart crowds. The Massive community is growing at a rapid pace and I want to apply my experience and background in all sorts of productions to help bring this breakthrough tool to others."
Believable digital multitudes created using the unique Massive toolset can also be used in a wide array of television commercials, including spots for Nike, PlayStation 2, Corona, Budweiser and United Way.
Divehall has been entrenched in visual effects and animation since the early 1990s. In his tenure with Academy-Award winning software developer Alias, he was responsible for managing Asia Pacific distribution channels and driving strategic relationships. Divehall’s departure comes on the heels of Autodesk acquiring Alias. He held several sales and marketing positions and played a leading role in developing their business in Asia Pacific. Prior to joining Alias, Divehall built Digital Video Technologies (NZ) Ltd. to be the premier technology supplier to the New Zealand film and visual effects industry. The company was a key supplier to Weta Digital, providing tools and systems to outfit the facility for the THE LORD OF THE RINGS movies.
Commented Divehall, "Massive represents a true innovation in computer graphics and is changing the way their customers approach visual effects and simulation. I am very excited by the tremendous opportunities Massive has to grow its business and the leverage of its market leading and production proven technology."
In the past six months, Massive Software has shipped a new version of its flagship Massive application, and added scores of top-end customers in commercial advertising and movies — from Digital Domain to Method Studios. The company also introduced a brand-new product, Massive Jet, which will open up creation of Massive scenes with hundreds to hundreds of thousands of realistic virtual characters to many more users and markets. Massive is prominent in two of the holiday season’s biggest vfx movies, THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE and KING KONG.
Additionally, Artaya Boonsoong has joined Massive as industry manager, visual effects & animation. A citizen of Thailand, Artaya is from the production universe, where his credits as an animator and lead technical director include CRASH, SKY CAPTAIN AND THE WORLD OF TOMORROW, THE HUMAN STAIN, CHARLIE'S ANGELS II, UNDERWORLD: EVOLUTION and Ray.
Boonsoong began his career as a solo CG artist in Thailand, working on many commercials and films. Relocating to the U.S., he collaborated on numerous games and commercials before founding his own visual effects studio, Luma Pictures, in 2002. The Santa Monica-based company quickly grew from two to include more than 50 employees and Hollywood film credits for creating photorealistic 3D creatures, digital set extensions, atmospheric effects and more. Boonsoong's expertise stretches from hands-on shot supervision and completion to pipeline development, programming and production system setup.
"It's been a busy and exciting year at Massive," said Diane Holland, ceo, Massive Software. "With our range of new products and customers and a groundswell of interest in recent months, we have reached a major phase of expansion and development. Nick and Artaya — two amazingly varied and experienced players in the animation and visual effects field — are key hires who will be helping us take Massive Software the company to the next level."
"Founding and owning a flourishing visual effects studio was a career highlight for me," Boonsoong said. "Coming on board with Massive, the next big thing in computer graphics in my opinion, was another opportunity not to be missed. Massive solves one of our biggest vfx challenges: creating convincing, intelligent crowds, and does so elegantly, with every aspect geared towards speed, efficiency and smart crowds. The Massive community is growing at a rapid pace and I want to apply my experience and background in all sorts of productions to help bring this breakthrough tool to others."
Believable digital multitudes created using the unique Massive toolset can also be used in a wide array of television commercials, including spots for Nike, PlayStation 2, Corona, Budweiser and United Way.
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