In looking back on substantive trends and developments in 2010, the visual effects community’s perspective was not one filtered through rose-colored glasses as there was full recognition of economic realities.
Figuratively speaking, 3D glasses were donned by many who learned lessons this year about 2D-to-3D conversions, and see significant business potential down the road in 3D stereoscopic work.
Erik Press, executive producer of Zoic Studios’ commercial division, noted, “With several 24/7 Stereoscopic channels coming in 2011 and manufacturers pushing TV sets to a very reasonable price point, 3D stereo is the topic of the day. At Zoic, we have developed a presentation to educate our clients. The more knowledge we can pass along to our colleagues, the quicker we can get to the work on quality stereoscopic content. It is quality that will produce sustainability.”
Zoic’s Press was among those who responded to a SHOOT survey which asked:
What trends or developments in VFX/animation and the post industry were most significant in 2010? And what lessons can be learned from them?
Here’s a brief sampling of the feedback we received:
Zviah Eldar, CEO/CCO, Gravity, bicoastal/international
Because film and commercial producers are recognizing the work they are producing will meet audiences on a variety of media outlets, we have remained ahead of the curve by evolving our team to preemptively tailor our work to those different venues. From a staffing standpoint, we have done this both by attracting new talent and re-training our core contributors.
Additionally, we have modified our work-flow to ensure that all our creative directors, designers, producers and artists are educated on multiple platforms. They now have the insight to develop work for mobile, web, tablets, cinema, or TV–always ensuring the creative, conceptual, and design success of the work, regardless of the delivery format.
Time and smaller budgets are our nemesis now: less time to create, pitch and execute. Our multiple-disciplined, creative staff allows us to streamline and meet these demands.
Stereoscopic filmmaking (3-D) is another rising trend. The improvement of stereoscopic technology has gained new interest from mainstream audiences. As a result, we’ve had interest from agencies and clients to explore stereoscopic content. As part of our process, we’ve done R&D in key areas: Stereoscopic filming, 2-D-to-3-D conversions, and 3-D experiences for the web. We’ve partnered with cutting-edge companies to give us the flexibility in both film and games. It’s challenging and exciting to be in a constant state of evolution to accommodate the rapid shifts in technology and formats effectively for our clients.
Vicky Godfrey, company director, producer, partner, SquareZero Ltd, London
Throughout 2010 we’ve seen a major upward trend in 3D stereoscopic work, which follows with all of the 3D movies that have led the way. This year has also been the biggest push towards 3D in broadcast and advertising as the medium expands into those arenas.
We’ve been working with autostereoscopic and stereoscopic screens since 2006, using Ocula in Nuke (for instance, when we worked on the Burberry 3D Fashion show graphics and branding), and Dashwood’s Stereo 3D Toolbox for Final Cut Pro, which has been fantastic. When working with autosteroscopic (3D without glasses) screens, ZSlice has been invaluable. Lessons learned for the industry from this past year’s experience include that 2D to 3D stereo conversions aren’t as easy as people initially thought. There’s a lot of rotoscoping involved and depth mattes that need to be created, and not everything makes for a smooth conversion. For example, a crash zoom may work in 2D, but when converted to 3D stereo hurts the eyes. We converted some ads for agencies this year and found some things just don’t work. So if you’re thinking of shooting a commercial in 2D and later converting it, get advice at the pre-production stage so everything accentuates the 2D to 3D conversion.
With complicated commercials with lots going on, problems arise as to what assets should be pushed as 3D. You can’t just do 3D for its own sake and convert every asset or car.
Use it to push the product, or for those “wow” moments in a commercial, so the audience says; “Now that’s cool,” rather than “Ouch, my eyes!”
Will Hyde, creative director, Superfad Seattle
Interactive integration continues to knock on the door, demanding to be let into the party.
We are constantly being asked to not only create innovative content, but to serve it up in an interesting way, on a variety of devices. From repurposing design elements for the web to leveraging 3D assets from commercials into augmented reality productions, it’s no longer an option to not have a developer in-house.
Agencies are looking to consolidate the various media deliverables of a project or campaign in one place, which can offer cost-savings for them, and provides an opportunity for us to have more complete control of creative across a campaign.
In many cases, a look is developed for a television commercial and is then propagated throughout print media and interactive.
The efficiencies are clear, as the agency creative teams can be sure the same stylistic treatment will apply across mediums.
Nick Piper, creative director, Chemical Effects, Santa Monica
The most noticeable development in 2010 was the increasing shift of creative responsibility for the finished vision into post hands.
Where once upon a time we would have found ourselves working with a pre-shot concept, now the environment has changed and we’re much more involved at the early stages of creative evolution, problem solving with the advertising agency or director, collaborating on the approach and shooting tests to demonstrate how a particular concept will look.
Clients still want the world, but the good thing now is that they’re starting to recognize how resourceful and inventive we can be in giving it to them, if we’re involved from the beginning. And from our perspective it’s much more fun to work that way.
In terms of a lesson to be learned, I think obviously the line between production and postproduction will continue to blur.
Digital technology is the way of the future. So rather than production hanging onto their dollars at the expense of post, or vice versa, we should be working towards a model where the best creative solution combines the natural strengths of both worlds.
As a live action director and creative director at a visual effects company, that’s what gets me excited, and that’s what ultimately creates the best work.
Jonathan Notaro, founder, director, executive creative director, Brand New School, bicoastal
People have taken advantage of the economy and anyone who’s honest will tell you the trend is getting the same thing for half as much.
So the lessons we learned were to try new things, be nimble and versatile with our production methodologies, and completely transparent and realistic with our clients.
Erik Press, executive producer, commercial division, Zoic Studios, Culver City, Calif.
There are two trends that stand out the most during the past year. Interestingly, they are at somewhat opposite ends of the spectrum and perhaps even a reflection of a growing gap in America.
As a society we are all growing more aware of the role that design plays in our lives. In a world of growing complexity we are all looking for the things that simplify. From mobile devices to plug in vehicles, consumers are increasingly tuned into the iconography that represents our lifestyle.
The proliferation of the microcomputer alone necessitates our relationship with graphics. Imagine how we’d work an iPad, a dashboard GPS or the augmented reality banner without visual design. The Internet alone has been reliant on motion graphics to grab our attention away from site content and into the auspice.
At the other end, however, is something much newer and unfamiliar, 3D stereoscopic production. While this trend has not yet manifested itself in much content, the trend is certainly coming. Agencies, directors and EPs all have an appetite for knowledge. Demand and exploration for development are building rapidly.
With several 24/7 Stereoscopic channels coming in 2011 and manufacturers pushing TV sets to a very reasonable price point, 3D stereo is the topic of the day. At Zoic, we have developed a presentation to educate our clients. The more knowledge we can pass along to our colleagues, the quicker we can get to the work on quality stereoscopic content. It is quality that will produce sustainability.
