Film and Broadcast

Meet the modelers, texture artists, VFX Specialists, and post-production houses who use modo

modo is a popular tool for use in feature film and post-production work worldwide.

For broadcast applications like logos, supers and motion graphics, modo is often used as the primary 3D content creation tool. When it comes to feature film, modo is often used in conjunction with other 3D tools as part of a comprehensive pipeline that includes character animation tools. State-of-the art stereo workflows are fully supported in modo, and modo’s flexible system of render outputs deliver total control over final results.

To read about how Zoic Studios uses modo, please click here. And check how the Art Department at Industrial Light and Magic (ILM) has been using modo.

“I started using modo 501 on Microsoft Kinect Adventures. I used modo for modeling, uv mapping and texturing. Using modo in the XSI/Maya pipeline worked great and allowed me to model, uv, and texture faster and better! I’m now using modo 501 on Warner Brothers Animation first CG TV Series. I was able to use the multiresolution sculpting in modo 501 instead of having to take the model out and into one of the sculpting-only 3d apps. Using modo now in a Maya pipeline makes me model faster and better and has some of the other artists interested in modo!”

Roger Borelli
Lead Modeler/Texture Artist
Warner Brothers Animation

Rick Baker

Rick Baker’s work has been seen numerous times by anyone who has ventured into a movie theater in the past 25 years. Initially gaining fame for winning an Oscar for Best Make-up (“American Werewolf in London”) in 1981, Rick has been involved in so many movies it is impossible to list them all here.

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IGLOO

Luxology recently interviewed Gustavo Fernandes of IGLOO VFX in Toronto, Canada. In this interview we learn how IGLOO uses modo for their clients – ranging from music group Alice in Chains, to Dentyne gum and Toyota cars and trucks – and from interactive web designs to television commercials.

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CoSA VFX

Recently we had a chance to interview David Beedon of CoSA VFX. “We need a tool that effectively allows us to create a one-man 3D department,” David says in our interview. He then explains how CoSA have used modo to help complete shots for many Hollywood productions, including Wolverine, FlashForward, Fringe and Undercovers.

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Martin Duerr

Martin is a modo expert and builds upon over two decades of experience in 3D modeling in print advertising, TV broadcast, and computer gaming. His client list includes BMW, Daimler, Honda, Toyota, ZUXXEZ, SAT1, and Siemens. We caught up with Martin in Stuttgart, Germany.

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Digital Fusion

We recently caught up with Tim Wilcox and Hugh Milstein to explore some projects at Digital Fusion that blend CGI with traditional photography / re-touching. Based in Culver City, California, Digital Fusion (DF) is situated within the heart of the production community. They are a full service digital photographic services company. Tim Wilcox is the Creative Director of CGI and Hugh Milstein is the owner.

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The Embassy

See how The Embassy used modo in their workflow to clean up the original digital scan of the Citroen C4 to create a highly detailed and fully articulated robot for this stunning television ad.

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Simon Hodgkiss

Simon Hodgkiss is a computer graphic veteran in the UK whose latest project involved rendering an animated CGI children’s pilot in modo 401. His broad experience in high-end production offers insight into one of the ways that modo can be used in a broadcast production pipeline.

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Smoke and Mirrors

In this interview on location in London, Clive Biley, Creative Director of Smoke and Mirrors, explains why modo is used so extensively in this world-renowned production company. Clive notes that modo can actually render out 12k CGI print and visualisation images in front of the client, and, he says “we’ve never had a software package that allowed us to do that...”

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Ian Brown

Ian Brown is a senior 3D artist at London-based Passion Pictures. You may know them from their ground-breaking animation for the Gorillaz. What you may not know is that because of Ian, Passion Pictures are heavy users of modo.

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Lucasfilm and Sony Pictures Imageworks Release Alembic 1.0

VANCOUVER, B.C., – August 9, 2011 – Alembic 1.0, the open source project jointly developed by Sony Pictures Imageworks and Lucasfilm Ltd. was released to the public today, it was announced at ACM SIGGRAPH conference in Vancouver, British Columbia.

Alembic is the computer graphics interchange format developed by the two entertainment giants last year and focused on efficiently storing and sharing animation and visual effects scenes across multiple software applications. It was designed to handle massive animation data sets often required in high-end visual effects and animation, which are routinely developed and produced by companies such as Lucasfilm’s Industrial Light & Magic and Lucasfilm Animation Ltd. and Sony Pictures Imageworks. The studios each saw the need for a tool like Alembic, something that would fit within existing pipelines and allow for customization at the facility level without impeding the ability to share work.

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January 2011

Animation World Network

modo 501 review by Warner McGee

“How do you improve, inspire or innovate upon a tested and proven product? If you’re Luxology, you continually ask the question, ‘Can we do better?’ With the release of modo 501, Luxology has answered that question again with a resounding, “You betcha!” It seems like everything has been touched and tweaked, some things more than others. From the improved and expanded online help materials, 64-bit Mac version, to the greased lighting Preview and Rendering abilities, Luxology takes a huge leap forward with the release of modo 501.”

Read the full Review (opens in new window) »

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