Premieres Friday, December 9, at 7:00 p.m. (ET/PT) -- Albert is Nickelodeon’s first original animated TV movie, telling the story of a tiny Douglas fir tree named Albert who loves Christmas and dreams of being the Empire City Christmas tree.
Albert was created almost entirely in-house and features a look that is unique to Nickelodeon. Texture artists, lighters and compositors worked on Dell Precision 5810 workstations equipped with NVIDIA Quadro M6000 graphics to bring the story to life. Scenes were rendered using RedShift's GPU accelerated renderer.
“The Dell T5810 and Redshift with the NVIDIA Quadro M6000 really came together for us, and allowed our artists to work in a way they'd never been able to before. They're able to work in near real time when lighting the scenes they're working on, which allowed us to create an entirely new pipeline for the way Nickelodeon has traditionally approached animation, giving them much more creative control than they've ever had before,” said Eric Swanborg, Senior Director of Digital Operations for Nickelodeon.
"The animated characters in Albert appear as though you can reach out and touch them -- it’s a look somewhere between photorealistic and stop motion. The ability for artists to have near real-time reflections, shadows and interaction was essential to the project.
“We're trying to make great art as fast as we can and have it look as good as possible. There's such a depth to everything. That's what I'm really excited about. I can't wait for the audience to see it,” says Jason Meyer, supervising producer. “And now what used to take two to three hours to see a final frame is now taking just half an hour.”
Using Redshift with Quadro’s powerful visual computing platform allowed artists to do renders at their desk without having to outsource. Artists are able to see what the scenes looked like before spending the time to render the whole sequence out, which is a significantly faster approach.
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COW Editor's Note: Here is an introduction to the artistry in Nickelodeon's Albert.
And here is a video of Max Lang, the director of ALBERT. Enjoy this behind-the-scenes look into some of the process...
Blackmagic Design has introduced the public beta of Blackmagic RAW, a new and very modern codec that combines the quality and benefits of RAW with the ease of use, speed and file sizes of traditional video formats. Blackmagic RAW is a more intelligent format that gives customers stunning images, incredible performance, cross platform support and a free developer SDK.
Highlights include: Photorealistic, interactive car rendering. Real-time ray tracing on a single GPU. Advanced rendering for games & film. Cornell Box ??" Turn to this tested graphics teaching tool to see how Turing uses ray tracing to deliver complex effects ??" ranging from diffused reflection to refractions to caustics to global illumination ??" with stunning photorealism. Ray-traced global illumination. New Autodesk Arnold with GPU acceleration, this demo lets you see the benefits of Quadro RTX GPUs for both content creation and final frame rendering for feature film.
Join filmmaker, photographer, educator, and drone pilot Dirk Dallas of "From Where I Drone" for this comprehensive guide to getting started, and getting really good, with flying drones. His practical advice covers preparation, calibration, and exercises to master for control of both your drone and its camera.
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Christina Rzewucki is a Texture and Look Development Artist at Rising Sun Pictures. A 2016 graduate of the Academy of Interactive Entertainment in Adelaide, she began her career with the game company Monkeystack. Since joining RSP in 2017, she has applied her diverse technical and creative skills to projects including the blockbusters Thor: Ragnarok and Tomb Raider. Next month, she will be teaching the texturing component of ‘Look Development and Lighting,’ a new second year elective course associated with UniSA’s Media Arts degree.
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Growing up, Kylee Peña says that she was always glued to the Summer or Winter Olympics. And as a young and ambitious video nerd, she wondered what went into the incredible number of visual stories being told. Between pre-cut packages and live footage and montages put together with moments that had happened seconds ago, she couldn’t fathom what went into the teams who created this media. But for the next few weeks, her friend Mike Api is in PyeongChang, South Korea, where he’s working as a freelance editor on the Olympics for NBC. Having been through the Olympics editorial experience before ??" the Summer Games in Rio two years ago ??" he knows he has a lot of interesting stories to tell us while he’s working.