Los Angeles-based OTOY, a company that has created software used for visual effects in projects such as “Westworld” and “The Avengers,” also launched a blockchain- and cryptocurrency-based rendering platform called RNDR to help other content creators harness the power of thousands of graphics processing units (GPUs). OTOY’s strategy is to gather a group of computer owners who can share their GPUs in the cloud in a decentralized way, and thus trade GPU power among members to accomplish data-intense imagery. Continue reading Blockchain-Based RNDR Harnesses Power of 14,000 GPUs

OTOY, a Los Angeles-based visual effects software firm, launched RNDR to allow more people to create 3D computer generated images. The company, which created software used for productions such as “Westworld” and “The Avengers,” relied on cloud, blockchain and cryptocurrency technologies to create a way that people can create 3D imagery rendered by shared hardware hosted in the cloud, and then sold and/or traded via blockchain. Doing so, says chief executive Jules Urbach, reduces the cost, time and labor of creating such assets. Continue reading OTOY Rolls Out Blockchain-Based Rendering Platform RNDR

As part of the Next-Generation Media Technologies education track at the upcoming NAB Show in Las Vegas, a half-day conference produced by Rochelle Winters will examine the latest trends in Machine Intelligence and Content Creation (Tuesday, April 10, 9:00 am – 12:00 pm). The program will examine how studios, creative service companies and filmmakers are using machine learning, deep learning and artificial intelligence to help produce content. Leading technologists, production execs and content creators will share the latest research and case studies involving machine intelligence. Continue reading NAB Program to Look at Machine Intelligence, Content Creation

As part of the Next-Generation Media Technologies education track at the upcoming NAB Show in Las Vegas, a half-day conference produced by Rochelle Winters will examine the latest trends in Machine Intelligence and Content Creation (Tuesday, April 10, 9:00 am – 12:00 pm). The program will examine how studios, creative service companies and filmmakers are using machine learning, deep learning and artificial intelligence to help produce content. Leading technologists, production execs and content creators will share the latest research and case studies involving machine intelligence. Continue reading NAB Program to Look at Machine Intelligence, Content Creation

Palo Alto-based startup Arraiy is developing methods for automating part of the often-tedious process of producing visual effects for movies, TV shows and video games. “Filmmakers can do this stuff, but they have to do it by hand,” said CTO Gary Bradski, who has worked with tech companies such as Intel and Magic Leap. The Arraiy team, led by Bradski and CEO Ethan Rublee, “are building computer algorithms that can learn design tasks by analyzing years of work by movie effects houses,” reports The New York Times. “That includes systems that learn to ‘rotoscope’ raw camera footage, carefully separating people and objects from their backgrounds so that they can be dropped onto new backgrounds.” Continue reading Startup Using AI to Help Create Effects for Movies, TV, Games

At the HPA Tech Retreat in Palm Desert, California (produced by the Hollywood Professional Association), a panel of industry professionals described the vicissitudes of mastering in an era of dozens of formats, standards and devices. The conversation quickly became interactive, with attendees asking questions that related to their work in the media & entertainment industry. One question, harkening back to the premium for producing and posting HD material when it first came on the scene, was about the additional costs of working with UHD and HDR. Continue reading HPA 2018: Mastering Features, Content in UHD, HDR & SDR

For this year’s Super Bowl, The Mill in London produced 25 commercials, relying heavily on the cloud. “There’s no way we could have gotten that done without a burst of rendering in the cloud,” said The Mill group technical director Roy Trosh. “When we know we have a vendor bulge, we used to bring a [server] supplier and it took three days to get ready to render. This time it took 15 minutes.” At this week’s HPA Tech Retreat, manufacturers and users described how the industry has evolved with regard to cloud production and post. Continue reading HPA 2018: Update on Tools, Production and Post in the Cloud

Digital Domain Holdings, head of the biggest global indie VFX facility, and Qualcomm have partnered to create what Digital Domain chair Peter Chou calls “a new ecosystem for virtual reality.” This deal follows on the heels of Digital Domain’s partnership with Deutsche Telekom on a virtual reality mobile app. According to Chou, who co-founded smartphone manufacturer HTC, these deals are in preparation for the rollout of 5G mobile services expected to take place in the next few years. HTC is also maker of the Vive VR headset. Continue reading Digital Domain Partnering With Qualcomm on VR Ecosystem

Adobe’s research team is working on a visual effects tool, codenamed Cloak, for easy and economical removal of rigs, power lines and other unwanted parts of an image. The tool is similar to Photoshop’s content-aware fill feature that lets the user select and delete unwanted elements in the image, with “intelligent” software filling in the missing background behind them. Doing the same thing with video, however, is more challenging, which is why Cloak is still in an experimental stage, with no release date slated. Continue reading Adobe Experiments With Easy Object Removal Tool for Video

The technology underlying Bitcoin is now under development to render 3D visual effects. Los Angeles-based OTOY, which provides a GPU-based software system to create a cloud-based pipeline for 3D content, is hoping to raise as much as $134 million to develop RNDR, distributed cloud rendering for VR and other content, via blockchain technology. HBO and Discovery have invested in OTOY, which has also partnered with Facebook and Mattel. Relying on cloud-based GPUs for rendering is a much less expensive solution than supercomputers. Continue reading OTOY Uses Blockchain Tech for Distributed Cloud Rendering

Two years ago, Gnarbox, which offloaded video from the smartphone to enable 4K video editing, earned over $500,000 from almost 3,000 backers on Kickstarter. Today, the $299 Gnarbox — a small black box for portable backup and editing — contains a mini-PC with 1.9GHz quad-core processors, a dedicated GPU, 128GB storage, Wi-Fi, SD card slots and three USB ports, but no display. Instead, all the processing that takes place in Gnarbox is visible on the user’s smartphone, with editing in and out points indicated by a simple swipe. Continue reading Startup Gnarbox Enables 4K Video Editing From Smartphone

Fashion-centric publication W Magazine, in partnership with visual effects house The Mill, features augmented reality in its September 2017 Collector’s Issue. With Katy Perry on the cover, the issue appears to be an ordinary magazine, but if a user views it through a smartphone or tablet lens, he will see various augmented reality images. The viewer must first install W Magazine’s new companion app, Beyond the Page, available for iOS and Android, that activates the AR imagery in the issue. Continue reading W Magazine Tests New Features Enabled by AR Technology

As part of the Next Generation Media Technologies program at NAB, in partnership with ETC@USC, Walden Pond chief executive Wendy Aylsworth moderated a panel on “Thought Leadership for Key Players in the Industry.” Leaders from cloud initiatives at Microsoft, Google, Adobe and Avid Technology detailed their experiences in evolving cloud offerings, as well as the challenges in making these services a reality. Because the cloud is capable of multiple workflows, each leader had a different take on its benefits. Continue reading NAB 2017: Thought Leaders Gather to Discuss Cloud Potential

Another NAB panel in partnership with ETC@USC looked at several large-scale, high-resolution implementations in the cloud. Moderator Brian Campanotti, global director of business development for Oracle Digital Media Solutions led panelists through a discussion on how a major media organization can successfully make the paradigm shift from IT center to cloud infrastructure, leaving behind traditional on-prem storage and processing. Company case studies included Sony, Technicolor and Fox Network Groups. Continue reading NAB 2017: M&E Companies Describe Their Move to the Cloud

Visual effects studio Digital Domain is launching a new suite of platform agnostic “creation, production, and distribution tools for virtual reality experiences — including a VR camera,” which it is demonstrating at NAB this week, reports VentureBeat. Digital Domain’s portable spherical camera features “advanced live-streaming capabilities, new integrations with post-production suites, and a cloud-based VR distribution platform. It enables visual effects production, 360 capture hardware and software, real-time stitching and encoding, livestreaming, application development, and content distribution.” Continue reading NAB 2017: Digital Domain Demos VR Camera and New Tools