The software-defined platform helps developers in broadcast and streaming deliver AI-enabled media solutions.
The new GPU delivers the company’s latest AI, graphics, and compute technology to compact workstations, taking better advantage of Generative AI’s sweeping changes, such as seamless editing of high-resolution videos and images and its use for realistic visual effects and content creation.
At CES, company announced a host of new generative AI technology updates and releases, including TensorRT GPUs, the TensorRT-LLM open-source library, tools for RTX PCs and workstations, RTX-accelerated GeForce RTX SUPER GPUs, and new developer AI tools to create, test, and customize pre-trained generative AI models and LLMs.
Revealed at Autodesk University 2023: The Design and Make Conference, the new platform connects entire production pipelines with Maya and 3rd party artist tools from SideFX, Avid, and Foundry. plugging directly into the open ecosystem.
Now available, Nuke 15.0 bolsters doubles training speeds in CopyCat tool; all product updates include compliance with VFX Reference Platform 2023; Katana 7.0 and Mari 7.0. coming soon.
The new open source shading model succeeds Autodesk Standard Surface and Adobe Standard Material; Open Source Days ‘23 event kicks off August 6.
The Foundation’s newest hosted project, created by Larry Gritz in 2008, is widely used by VFX and animation studios and integrated into leading production software products; don’t miss the OIIO ‘Birds of a Feather’ session at SIGGRAPH August 7.
Previously announced at SIGGRAPH 2022, the production renderer is now available, in an industry standard CMake environment, complete with a new documentation website, restructured libraries, reduced dependencies, and referenced open source packages.
Organization’s flagship Open Source Forum at the Academy Museum of Motion Pictures in Los Angeles is set for February 16.
Now available on the Academy Software Foundation GitHub, the flexible, feature rich program is designed to meet the diverse needs of a broad range of review scenarios across teams of connected users, whether on set, in office, or remote.
Feature-rich release includes a host of simulation, scattering, and USD workflow enhancements for the company's node-based visual programming system for procedural creation.
Artists and studios gain broader accessibility to products and tools with Krakatoa and XMesh source code available for Autodesk Maya under Apache 2.0 open source license; artist tools simplify rendering, VFX, and simulation workflows.
Art director Grant Freckelton and director David Peers talk about the studio’s groundbreaking open-source USD ALab, its expansion into ALab Phase 2, and the Unreal Engine-created short film that grew out of their R&D efforts.
Joining with code contributions from DNEG and Sony Pictures Imageworks, RV will help shape the Open Review Initiative, the ASWF effort to standardize VFX and animation standards while building a unified, open source toolset for playback, review, and approval.
The company will pursue a multi-year effort to expand USD’s capabilities beyond VFX, working with its inventor, Pixar, along with Adobe, Autodesk, and Siemens.
Technical Steering Committee members from Autodesk, DNEG, and Sony Pictures Imageworks will make RV, xSTUDIO, and parts of the itView ecosystem available to the open source community.
Studio’s state-of-the-art MCRT renderer, used on the upcoming ‘Puss in Boots: The Last Wish’ and previous films like ‘The Bad Guys’ and ‘Croods: A New Age,’ includes a USD Hydra render delegate and multi-machine / cloud rendering via Arras.
VFX veteran takes the reins from current creative director and two-time Oscar-winning VFX supervisor Paul Franklin, who will continue providing visual effects consulting to the company on features as well as develop and direct new projects.
Tech giant offering 2-days of online sessions with presentations by WB Games Avalanche, Playground Games, Crafty Apes, IGNITE Animation Studios, Crater Studio, and Megalis VFX; registration is free and required to attend.
Coming later this year, the app is aimed at establishing an industry-standard toolset for collaborative review; designed to integrate into individual pipelines, teams can review shots, edits, and grades in a single, unified application on all desktop platforms and operating systems.
Written by noted journalist Barbara Robertson, the paper visits the origins of today’s open source technology in modern filmmaking beginning with cutting edge digital visual effects and animation in the 1990s followed in the early 2000s with the release of ILM’s OpenEXR and Sony Pictures Imageworks’ OpenColorIO.
Company continues its push into virtual film production services with investment in new state-of-the-art Montreal facility.
Supporting over 1,600 recipients so far, Epic Games continues its commitment to furthering the progress of creators, anywhere, doing outstanding work with Unreal Engine or contributing to open-source capabilities for the 3D graphics community; nearly 400 new recipients have been named in 2021 alone.
Grant will be used by Montreal-based studio to further the company’s virtual production initiatives; their technology replaces greenscreens with a virtual set, offering producers creative flexibility and freedom.
Release includes full scene description, from global assets through to shot outputs; broad use of assets is designed to promote education, training, and demonstration by students, studios, and vendors.
