Wild Hunting with Platige Image

Late last year Platige Image executed the new trailer for the third game in The Witcher series – “THE WITCHER 3: Wild Hunt“. We had the pleasure of speaking with the team about Yeti’s involvement in the production.

THE_WITCHER_3_01

Peregrine Labs: Why did you make the decision to use Yeti over other fur/hair tools?

Staszek Marek: Yeti worked perfectly for the Tiger series of commercials we previously used it on, so after additional testing we decided to use it on The Witcher 3. Looking back at the production I must say that the cache system in Yeti was extremely useful.

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The Nut Job is coming!

Toonbox Entertainment’s The Nut Job will be in theatres in less than two weeks and we had the pleasure of working closely with the team to make sure their furry needs were met from the initial days of development.

The Nut Job

Congratulations to the studio on the release of their first animated feature – we can’t wait to see it on the big screen.

View the trailer here.

Yeti 1.3 Takes Flight

Peregrine Labs’ release of Yeti 1.3 empowers users to create feathers with unprecedented ease, speed and accuracy, making one of the long-standing issues in the VFX industry a thing of the past.

Since its inception, Yeti has been touted for its exceptional versatility as a fur, hair and instancing tool, and for its superior caching system. Its also an industry favourite due to an easy-to-learn node-based system which frees up precious time and money previously sapped by burdensome topology or UV-based approaches. Yeti 1.3 introduces Peregrine’s new feather geometry which makes creating detailed plumage for characters a worry of the past.

“The improvements that come with Yeti 1.3 — especially the new feather geometry — will benefit many members of a production team,” says Colin Doncaster, R&D Supervisor of Peregrine Labs. “Artists and art directors will have a much easier time achieving their desired effects, we’ve created a solution for an issue that has generally plagued productions with feathery characters. With Yeti 1.3, teams will save immensely with respect to R&D time and investment, all while creating better visual results. The brilliance of Yeti especially shines during those 9-1-1 moments where something needs changing or fixing right at the end of production. Yeti provides the hooks and means to make those changes without having to redo the work nor rely on any other methods.”

In addition to the standard bug fixes and workflow enhancements, other features that come with Yeti 1.3 are new brushes for painting, clumping and twisting strands during grooming, support for subdivision surfaces based on Pixar’s OpenSubDiv, tools for creating parts and crowns and an updated UI. The scripting and documentation has also been enhanced, making it even easier for users to become proficient in the application of Yeti.

“We’re focused on continually improving speed and efficiency while never limiting the user as to what style of hair they can create. We’ve had very cartoony characters created with our hair tools, and very realistic characters generated with Yeti,” says Kirsten Bodenstedt, Chief of Sales & Marketing.

With this release the VFX industry will enjoy a new level of efficiency and creative control with the adoption of Yeti 1.3, fully backed by the exceptional support Peregrine Labs is lauded for.

Cinesite’s Zombies for World War Z

We’ve been lucky enough to have Cinesite’s World War Z team as one of Yeti’s early adopters. Holger Voss, Cinesite’s Head of CG Technology, was kind enough to share a few thoughts on integrating Yeti along with their in-house toolset to solve the team’s long-haired Zombie needs during the course of production.

World War Z - Photo credit: Cinesite VFX / Paramount Pictures © 2013 Paramount Pictures. All Rights Reserved.

World War Z – Photo credit: Cinesite VFX / Paramount Pictures
© 2013 Paramount Pictures. All Rights Reserved.

PL: Why did you make the decision to use Yeti over other fur/hair tools?
HV: For our digi double work on World War Z we looked into various hair tools which would allow us to use any dynamics solver. Yeti proved to have the most flexible workflow for grooming and adding dynamics. Its tree based node graph allowed us to achieve what we were looking for in a very flexible and reusable way.

PL: How well did Yeti integrate into your pipeline?
HV: Yeti integrated well into our pipeline using the Renderman dso to generate the final hair at render time. There were a few issues to start with, but with great support we quickly managed to iron these out.

PL: Did Yeti solve all of your hair/fur needs?
HV: At this point Yeti is our main tool for human hair with dynamics. We also used it to generate large wheat fields for another recent production.

Thank you to the whole Cinesite crew for their continued support and especially to Holger for sharing his thoughts with us.