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Meet the winners of this year's Visual Effects Society (VES) Student Award. The team comprised of Thomas Battistetti, Mélanie Geley, Guillaume Hoarau and Mickaël Le Mézo created the short film Terra Nova for their final graduation project last year at ArtFX School in Montpellier, France.
Terra Nova is a film based on true events and follows British explorer Robert Falcon Scott's conquest of the South Pole in the early 20th Adobe premiere pro cc 2019 v13 1. century. Created using Autodesk Maya and Arnold, the film is a stunning VFX achievement that is brimming with transformative visuals of frozen landscapes and monumental ships at sea.
We sat down with the members of the Terra Nova team to hear about their experiences working on their film. We also picked their brains on how they transitioned from students to successful young professionals (so that we could share their advice with you!) Here's what they had to say.
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On Overcoming Production Challenges
Production-wise, one of the biggest challenges was simultaneously staying true to the history of Robert Falcon Scott and the Terra Nova expedition, while creating a short film that was exciting to watch.
Post-production-wise, the greatest challenges were creating realistic snow and icescapes. We were fortunate enough to visit the Scott Polar Research Institute in Cambridge where we found a lot of useful references. There, we had access to landscape and ice references. This helped us understand the importance of scale and how it affects the look and overhaul patterns.
Because we had a lot to create with very few means, we had to be smart concerning the VFX. That's why we chose to use a lot of matte painting. They added credibility to the visuals and saved us a great deal of time.
The FX were another big challenge. Our short film required a lot of effects, especially for the oceans. It's quite difficult to make realistic-looking water and because people are used to seeing water regularly, they can't be tricked easily!
Simulation times were sometimes very long. It was something we had to keep in mind the whole year. We eventually decided to use simulations only when they were required and used procedural setups as much as we could.
'one of the biggest challenges was simultaneously staying true to the history of Robert Falcon Scott and the Terra Nova expedition, while creating a short film that was exciting to watch.'
On What Inspired them to Pursue a Career in VFX
We have all have been influenced by films like Star Wars, Harry Potter, Avatar and Disney movies during our childhood. In our own way, we want to make people dream as much as we did when we were younger.
On the Transition from Students to Young Professionals
Thanks to ArtFX's jury at the end of the 5th year, we all met professionals to present our short film to. These meetings helped us receive feedback on our work and create contacts to eventually find positions in studios. We all found jobs pretty quickly. Thomas and Guillaume went to MPC London as Environment TD and FX TD, Mickael to Double Negative London as an Environment TD and Melanie to Framestore London as a Digital Matte Painter / Environment TD. Pcsx2 for mac high sierra.
Creating Terra Nova prepared us for this transition. During the production, we were working in the same way as we do in studios, with deadlines, supervisors and retakes trying to deliver the most realistic and artistic images possible.
On Advice to Students Wanting to make it in the VFX Industry
People have really different backgrounds in our profession, some have gone to VFX schools like ArtFX, while others have gone to architectural schools, and some have been self-educated. They all have a passion for the work they do though. So, if you want to work in the VFX industry, it takes work and involvement. You can achieve anything if you work hard. Be curious and open minded, don't wait to have all the answers from your teacher. You have to do research and training on your own as well. It is a relatively small industry, so it is very easy to develop a network. Meeting people and building a network will one day, help you achieve your goal.
'Be curious and open minded, don't wait to have all the answers from your teacher.'
On What's Next
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Melanie: Personally, I worked on concepts and dmp for Alita Battle Angel by Robert Rodriguez at Framestore. It was a really interesting project. The movie is being released in February and I am very excited to see my team's work on the big screen. The second project I worked on was Wonder Woman 1984, and I am now working on Secret Garden.
Guillaume: Thomas and I have been working on The Lion King since we graduated from ArtFX last June.
Thomas: As this industry is constantly moving, we don't always know in advance the shows we will be working on in the future. I'll move to MPC Montreal in a couple of weeks, to work on new shows. In the meantime, I'll be patiently waiting for The Lion King to be released this summer. Like Melanie, I'm really excited to see some of my work on the big screen.
Mickaël: I'm currently working on a confidential project. The future is full of surprises, I can't wait to know what my next challenges are going to be!
For more information on ArtFX and Terra Nova, visit;https://vimeo.com/artfx
and https://www.facebook.com/pg/terranovashortfilm/about/
Get single-user licenses for Arnold 6
Monthly, annual, and 3-year single-user subscriptions of Arnold 6 are now available on the Autodesk e-store
No more license servers! With a new single-user subscription, you just sign in with your Autodesk ID.
Get a 30-day trial
If you want to try Arnold for 30 days, all you have to do is create an Autodesk account and sign in.
You need a new network license for Arnold 6
For network licenses, Arnold 6 switches to ARNOL_2020 licenses (Arnold 5 uses ARNOL_2018)
Sign tools 4 keygen. That means you have to log on to your Autodesk account and generate a new network license. Cinemagraph pro 1 1 2 – create living photos.
After a release of a new version, it may take a few days for new entitlements to appear under your account.
Your new license will include both ARNOL_2020 and ARNOL_2018 licenses, so you can use the new license file with either Arnold 6 or Arnold 5.
You can use an Arnold 2020 license in any version of Maya, 3ds Max, Houdini, CINEMA 4D, Katana, or Softimage, as long as there is an Arnold 6 version of the plugin available.
For example, you can use an Arnold 2020 license with Maya 2020, Maya 2019, and Maya 2018.
Manage licenses with the new Arnold License Manager
There's a new Arnold License Manager that provides a user interface for:
- Signing in (and, if necessary, installing the necessary single-user licensing components)
- Maya and 3ds Max users may also sign in in the main application.
- Switching between single-user and network licensing
- Connecting to network license servers
- Getting diagnostics
- Installing the Autodesk Network License Manager (super helpful for macOS, where it sets up a plist daemon to automatically restart lmgrd)
The Arnold License Manager is available from the Arnold > Licensing menu in Maya, 3ds Max, Houdini, CINEMA 4D, and Katana.
You can also run the Arnold License Manager from the command line.
Maintenance/permanent licenses
If you still have an active maintenance plan, your licenses will be Autodesk NLM licenses.
Education Licenses
Schools can get free Arnold licenses, and those licenses are Autodesk NLM licenses.
Monthly Subscriptions
Monthly subscription purchased from the Autodesk e-store use Sign In activation.
Watermarks
Arnold renders in evaluation mode with a watermark if you don't have a license. For production rendering, you need a license.
If you use Maya or 3ds Max, you don't need an Arnold license to render without a watermark in the user interface. You do need an Arnold license to do any batch rendering because that happens outside of the Maya or 3ds Max user interface.
If you use CINEMA 4D, Houdini, or Katana, you need an Arnold license to remove the watermark from your IPR renders in the user interface. Plagiarism checker free.
Arnold licenses allow you to render without a watermark
Floating licenses
Arnold licenses are floating licenses (also known as 'network licenses' or 'multi-user licenses')
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Floating licenses allow any computer on the network to render with Arnold. The maximum number of computers that can render at the same time (concurrently) is determined by the license count. For example, if you have five Arnold licenses, then at most five computers can be rendering at the same time.
Floating licenses require a license server, which manages your use of Arnold through a license key. The license key typically defines the version of Arnold you can use, the number of computers you can use for rendering, and for how long.
Licenses are per-machine
Arnold licenses are per-machine, and there is no restriction on the number of cores or threads used to render. With one license, you can render on as many threads as you want.
You can run multiple Arnold render jobs on a single machine, and they will all share the same license. Free casino games without internet.
Free Arnold plugins
Arnold plugins (such as MtoA, HtoA, SItoA, C4DtoA, KtoA, and MAXtoA) do not require a license. You can install and use any of the Arnold plugins. An Arnold license is required only when you want to render without watermarks.
Licenses are global
Arnold's license usage is not restricted to a territory or region.
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Floating licenses can be used by computers at multiple geographic locations (as long as they can connect to the license server), and node-locked licenses can be used anywhere (for example, a node-locked license on a laptop can travel with the laptop).
Render farm licensing
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Every node on a render farm needs an Arnold license. This includes TeamRender clients for CINEMA 4D.
