Latest News

Panoptiqm for Lilyhammer

The team at Panoptiqm (along with their friends at Animaskin) were called upon to create VFX for Netflix’s Lilyhammer, relying heavily on Yeti to produce an all CGI Tiger.

Check out their project page for more information, and a great making of video by clicking the image below.

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Nibb-It’s Squirrely CEO by Nozon

Nozon used Yeti to help create Nibb-It’s busy CEO – we spoke with Gaël Honorez, Nozon’s head of lighting, shading, R&D and pipeline about the project and he may be almost as busy as the character the team created.

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“The briefing was to realize a realistic red squirrel, CEO of Nibb-It chips, going to work and testing new chips. The squirrel is fully CG, integrated in live plates and interacting with humans – I did the look-dev of the squirrel and the lighting for all the shots.”

“We have been using Yeti for quite some time now and are so happy with it that choosing it for fur work is a no brainer – the graph & groom/cache pipeline allows us to iterate fast enough to match the client demands.”

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Shed uses Yeti to help tell IGA’s story

Shed in Montreal recently executed this beautiful spot for IGA, we spoke with Luc Girard about how Yeti helped their move from XSI to Maya while surpassing their expectations.

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Peregrine Labs: Can you introduce us to the sequences on this production that use Yeti and your involvement?

Luc Girard: This is the 11th and latest ad of a series our studio created for a chain of grocers here in Québec. Yeti was used for all of the hair you see in the spot and I did the grooming and simulation setups for all of the hero characters as well as the extras. I enlisted the help of my colleague Marc Lebuis to help me get all of the nHair simulations completed when the final animation was ready.

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Yeti helps Cinesite recreate Sparta

Cinesite created over 350 visual effects shots on 300: Rise of an Empire, completing work in just a few short weeks. Many of their shots involved the creation of Ancient Greece, and Yeti was used to create a key aspect of one of their main sequences.

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Cinesite’s Visual Effects Supervisor Richard Clarke: “Sparta is a place where the wind defines the ambience of the environment and the movement of wind over the wheat field was a great way of representing this. In this shot, I wanted to create huge, open, natural wheat fields wafting in the wind.”

Yeti’s instancing was improved due to feedback from Cinesite; including full support for PRMan’s ObjectInstance (and similar for the other rendering engines) which was used heavily on the production.

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