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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.
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.
For the BBC’s second series of Wolfblood Trixter turned to Yeti for the digitally created stars of the show. Rendering Pipeline Supervisor Barry Kane was kind enough to share why the studio made the move to Yeti and some of the challenges of integrating it with Katana.
Csaba Elteto of Digital Apes Ltd. shares why the studio turned to Yeti to help solve their feather challenges when asked to create a CG Seagull.
Julien Leveugle, Compositing Supervisor for Animal Logic’s The Lego Movie, took some time to share details with us about Bokeh’s involvement with the production.