Aardman uses Yeti for U.N. Global Goals Campaign

The exceptionally talented team at Aardman Animations recently completed a short film called Project Everyone – We Have a Plan, to support the U.N. Global Goals Campaign. We caught up with Rich Spence, CG Supervisor for the project, and asked him to tell us more about how and why Yeti was used for this film.

“All the characters required either fur or feathers and we choose Yeti for its flexibility and great grooming tools.  There are a lot of different styles with such a large range of creatures and Yeti was able to handle them all without any problems. Other than the opening exterior shots we used Yeti in almost every frame of this short film.”, Spence explained

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When we asked if Aardman was able to achieve all of their project goals using Yeti, Spence responded that, “The procedural workflow of Yeti meant we could work in parallel on the model and fur systems without the concern of losing work if one or the other changed.  This way we were able to spend more time finessing the look.  It also meant we could easily transfer one fur system to another character to give us a head start on the groom.”

Spence also added, “Yeti seamlessly integrated into our pipeline and rendering setup in Arnold.  Its caches were quick to create and preview which allowed us to do multiple reviews to get the fur behaving exactly how we wanted.”

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Be sure to watch the entire short film here.

Amazing work, as always, Aardman. We are thrilled that you chose Yeti for this project!

A feathery Masquerade created by Shed

The talented artists at Shed in Montreal accepted the challenge of creating a Masquerade Ball featuring the iconic “golden bird” for Y&R’s yearly La Poule Aux Oeufs D’or gala.

Using Yeti’s procedural feather primitive they constructed many species of birds to create this beautiful feast for the eyes.

Head over to Shed’s site to hear more about the making of this production.

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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