Creative software developer Foundry has launched Nuke and Hiero 11.0, the next major release for the Nuke family of products including Nuke, NukeX, Nuke Studio, Hiero and HieroPlayer.
As a leading high-end compositing tool, Nuke and Hiero 11.0 align with industry standards and introduce a host of features and updates that will boost artist performance and increase collaboration.
Following its successful beta launch in April 2017, Nuke and Hiero 11.0 will redefine how teams collaborate, helping them to get the highest quality results, faster.
Key features for this release include:
- VFX Reference Platform 2017: The Nuke family is being updated to VFX Platform 2017, which includes several major updates to key libraries used within Nuke, including Python, Pyside and Qt.
- Live Groups: Introduces a new type of group node which offers a powerful new collaborative workflow for sharing work among artists. Live Groups referenced in other scripts automatically update when a script is loaded, without the need to render intermediate stages.
- Frame Server in Nuke and NukeX: Nuke Studio’s intelligent background rendering is now available in Nuke and NukeX. The Frame Server takes advantage of available resource on your local machine, enabling you to continue working while rendering is happening in the background.
- New Lens Distortion in NukeX: The LensDistortion node has been completely revamped, with added support for fisheye and wide-angle lenses and the ability to use multiple frames to produce better results. It is now also GPU-enabled.
- Timeline Disk Cache in Nuke Studio: Nuke Studio now has new GPU accelerated disk caching that allows users to cache part or all of a sequence to disk for smoother playback of more complex sequences.
Jody Madden, chief product and customer officer at Foundry, commented: “We’re delighted to announce the release of Nuke and Hiero 11.0 with new workflows for artist collaboration and a renewed focus on industry standards. Nuke, NukeX and Nuke Studio continue to be the go-to industry tools for compositing, editorial and review tasks, and we’re confident these updates will continue to provide performance improvements and further increase artist efficiency.”
Nuke and Hiero 11.0 have gone live and will be available for purchase on Foundry’s website and via accredited resellers.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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