Short details of DreamWorks Animation AR: Download the free DreamWorks Animation Augmented Reality app, and bring your favorite DreamWorks characters to life! Scan the latest posters of DreamWorks Animation Movies, to get sneak previews of the characters, 3D animations, exclusive content and new footage. Find DreamWorks Animation S.K.G. Software downloads at CNET Download.com, the most comprehensive source for safe, trusted, and spyware-free downloads on the Web.
For an overview of customers using Carbon please check out our blog here Carbon Blog
Below are some more indepth customer studies.
Keller.io
April 2018 - Our friends from Keller.io have done some fantastic work on the recently released German movie 'Die Kleine Hexe'.
Their task was to create the raven 'Abraxas', who is a central creature in the movie. Take a look at the movie trailer below:
For more information on Keller.io's use of Carbon Plumage check out the story.
Sehsucht
January 2018 - Sehsucht has created an interesting short, 'Guter Stoff', for German energy company EnBW.
Guter Stoff is one of the first films to be released using Carbon Plumage and we are very excited to share some feedback and technical information about this project.
For more information on Sehsucht's use of Carbon Plumage check out the story.
Bedroom Scene
In 2016, we were asked to simulate a bedroom scene for a client and it was an opportunity to show off what Carbon can do using cloth, soft body tetras and rigid bodies, all with 2 way interaction. Everything you see here is simulated - nothing is faked with deformers or similar.
Burberry / Nova
In 2015, Burberry partnered with Nova (from DreamWorks Animation) to 'create the first interactive luxury marketing campaign using new 3D technology'. One of their first projects was an interactive cloth simulation for scarfs, exposed at the big screens at Piccadilly Circus in the heart of London. Read more here.
Nova relies on Carbon Cloth for cloth simulations as it reliably produces high-quality, stable and fast simulations. Besides providing software, Numerion worked closely with the Nova team to tune simulation parameters and develop new technology to accommodate an ever growing need for art direction.
Interactive cloth simulation at Piccadilly Circus in London.
Change Of Paradigm
In cooperation with Change of Paradigm, garments designed by and for the fashion industry can be simulated realistically before a single piece of fabric has to be cut. This approach does not only save time and money but takes zero-prototyping to a whole new level.
Matching actual with virtual - both simulation and rendering (by Lightwork Design).
Boudicca dress simulated with Carbon Cloth.
Passion Pictures
When Passion Pictures could not achieve what they wanted from their existing cloth solution, they turned to Carbon Cloth to help deliver the NIKE 'THE LAST GAME'.
Carbon Cloth in NIKE 'THE LAST GAME'
And again for their 'Interview with Mr Arnold - Compare the Market' advert; about which Jamie from Passion Pictures says 'I think we owe you and your team a massive thank you and congratulations for creating such a fast and most of all 'reliable' product. Without Carbon I would have seriously struggled to reach an acceptable level in such a short space of time.'
Carbon Cloth in 'Interview with Mr Arnold - Compare the Market'
DreamWorks Animation
When DreamWorks Animation was looking for a new solution to replace their existing Cloth simulation, after extensive internal and market testing they selected Carbon Cloth and first tested it in production on 'How to Train Your Dragon 2' where it passed with flying colors.
Carbon Cloth was benchmarked by DreamWorks (see Siggraph Talk) as being up to 60x faster than the competition for Hero Cloth simulation. How do you unlock an iphone se.
Nate Yellig (DreamWorks) shares his experience with Carbon in a Siggraph 2014 talk. You can download the talk abstract here Download Here.
DreamWorks continue to use Carbon as their main Cloth tool for garment simulation and many other applications. Examples include some of their other recent movies; Panda's have fat arms and Carbon was used in 'Kung Fu Panda 3' for pinch management between the arms and the body.
Penguins don't wear much in terms of clothing, but still 'Penguins of Madagascar' needed a diving suit, simulated with Carbon of course.
With franchises like Shrek, Kung Fu Panda, and Madagascar to its name, DreamWorks Animation has spent the last 20 years building an animation mini-empire. The studio’s movies have pulled in over $11.5 billion in global box office, and, despite some recent underperformers, it’s continued to diversify with pushes into TV, apps, and online initiatives. This weekend the studio is heading back to movie theaters with the release of How To Train Your Dragon 2.
Written and directed by Dean DeBlois (Lilo & Stitch, the original How To Train Your Dragon) the movie is one of DreamWorks’ most visually stunning films to date. Dragons swarm in epic battle sequences; humans gracefully race, flip, and fly; and key dramatic moments are powered solely by the visual nuance of a computer-generated character’s performance. It’s a leap in terms of both spectacle and emotion, and at the heart of it was a new version of the studio’s flagship animation software — one that’s letting DreamWorks animators do more than they ever could before.
Throughout the studio’s history, it’s relied on a custom piece of animation software named Emo. Originally developed in the 1980s by Pacific Data Images, Emo was designed to animate primitive graphics and text, but evolved into the kind of tool that could bring Princess Fiona and Puss in Boots to life. Despite several major overhauls, however, it had begun to show its age. Animators would have to work with rough geometric approximations of creatures rather than fully-realized models, or turn off different body parts altogether to get the software to run at an acceptable speed. Then there was rendering, which would tie up the workstation completely.
Like a lagging version of Photoshop, Emo simply wasn’t using modern hardware to its full potential. So five years ago, the studio met with its hardware partners HP and Intel to get a sense of where their respective products would be going in the years ahead. Realizing that a simple update wasn't going to get the job done, DreamWorks decided to rebuild its entire suite of production software from the ground up.
The Emo working environment in a scene from the original 'How To Train Your Dragon.'
DreamWorks CTO Lincoln Wallen went to the company’s artists, asking them to daydream what kind of tools they would like to use in a perfect world. 'I recall it very well,' Simon Otto, head of character animation for Dragon 2, tells me in a suite at the studio’s Glendale headquarters. 'One of the first things was, '[What] if you just forget everything you’re doing today?' People with backgrounds in all different types of animation were consulted — from 2D animation, to stop-motion, to video games — in an effort to create a software solution that could bring together the best of all possible worlds. 'We created a big list of why certain mediums have advantages over others,' he says. That list provided big-picture guidance for the software team as it began building and iterating on a new animation tool for DreamWorks — and the end result is named Premo.
The differences between the two programs are obvious at first glance. Rather than forcing animators to deal with rough approximations or partial versions of characters, Premo allows them to work with the fully realized and skinned characters, which they can interact with and modify in real time. Camera positions can be moved on the fly to get a better vantage point of a particular movement, and thanks to robust support for the latest multi-core processors there’s enough power to put as many different characters in a shot as the director wants (some of the sequences in Dragon 2 feature dozens of different dragons flying around simultaneously). Rendering is still a requirement, of course, but Premo does it all in the background without tieing the app up and preventing additional work. Otto showed me a demo of the software on a machine with 16 cores — quadrupling what you’d find in the base-level Mac Pro — and the moment he tweaked a character’s position the sequence re-rendered seamlessly without even the mildest hiccup.
Animation Software
But while the raw power is nice, that alone doesn’t change the way artists actually interact with the software. To give you an idea of how computer animation usually works, once a character’s design is locked in it gets handed off to a different department that 'rigs' the model. That process essentially consists of creating the joints, limbs, and various points of articulation that the artists will later move around to pose the figure. (Imagine an old-school GI Joe action figure, but with 1,500 to 2,000 different moveable parts.) In Emo, animators used their mouse to move those pieces around, or edited the positions manually using a massive spreadsheet-like database. It was functional, but clunky to say the least.
With Premo, DreamWorks provided animators with large, pressure-sensitive screens from Wacom. Using the tip of their pen, they can interact directly with the CG character — with the skin, muscles, and other elements responding in real time — resulting in an experience that’s closer to posing a physical model than it is to mind-numbing data entry. According to Otto, it’s a more immediate, naturalistic way of working that allows for more experimentation — but more importantly, lets the artists bake more nuance into the final product.
Dreamworks Animation software, free download For Pc
An animator poses the face of Toothless in 'How To Train Your Dragon 2.'
3d Animation software, free download
How To Train Your Dragon 2 was the first DreamWorks film to use the studio's upgraded software suite — collectively known as Apollo — and animators point to several examples where Premo’s influence shines through. A scene in which the character of Stoick (voiced by Gerard Butler) confronts a woman from his past plays out largely through the character’s facial expressions alone. It’s a powerful piece of performance, and watching the conflicting emotions battle on his face is simply remarkable. There’s also a sweet moment where the dragon Toothless casts a longing glance back at his owner, Hiccup (Jay Baruchel). That moment didn’t exist in the original storyboards, and if using the older software the animator would have needed to turn off everyone but the single character they were working on. With Premo, however, they could keep everything turned on — and like an actor improvising in the moment, the animator saw the opportunity for an added interaction that makes the film better.
Dreamworks Animation Logo
Despite all the advances, Otto is already looking past the immediate horizon, to when the studio’s tools can put even more control in the hands of the animator. 'I still want to go to the final lighting of the movie,' he says. Today, a given shot is first animated by an artist, and then shipped off to the lighting department where the virtual cinematography is put into place. A future version of Premo could conceivably swap that around, he says, allowing animators to move their characters around a fully-lit environment — though it would require a complete reimagining of the computer animation workflow. 'Now that’s a long way,' he smiles, 'because that’s really challenging.'
Dreamworks Animation Games
How To Train Your Dragon 2 opens Friday, June 13th. All images courtesy of DreamWorks Animation.