Archive | July, 2013

ViewSonic’s New VX2770Sml-LED, 27″ Frameless MHL 2.0 Full HD Display

30 Jul

ViewSonic’s New VX2770Sml-LED, 27″ Frameless MHL 2.0 Full HD Display for the Next Generation in HD Connectivity

  

Ideal projection smartphones/tablets to large display

ViewSonic® Corp., a leading global provider of computing, consumer electronics and communications solutions, continues its innovative leadership by launching its latest 27″ Frameless MHL Full HD Display – VX2770Sml-LED. With a sleek IPS panel, the ViewSonic VX2770Sml-LED display looks as good as it performs. Full HD resolution, an impressive 30 million:1 Dynamic Contrast Ratio, and super-wide viewing angles all wrapped in a sexy frameless design.

The VX2770Sml-LED comes with the industry-leading SuperClear™ AH-IPS Wide Viewing Angles technology, brilliant pixel quality of the 1920×1080 Full HD panel, 30,000,000:1 dynamic contrast ratio, and MHL 2.0 connection. The MHL and HDMI connections share the same ports, providing the VX2770Sml-LED flawless streaming from a variety of MHL and HDMI-equipped media devices, such as smartphones, tablets, computers, set-top boxes, Blu-ray disc players, HD digital cameras, and gaming consoles. The MHL connection allows mobile devices to use this monitor without turning on a PC/Laptop

VX2770sml-LED enhances display performance by delivering an outstanding color range, contrast ratio and brightness output for remarkably defined images. It delivers a 178° viewing angle from horizontal and vertical directions, while ensures the vibrancy and accuracy of images. Brightness levels are consistent across the viewing angles, with no distortion or decay. Multi-mode input technology supports both digital (HDMI) and analog (VGA) signals for ultimate compatibility and configuration flexibility. The dual 1.5-Watt speakers, powered by SRS Premium Sound® surround stereo, delivers an audiophile sound quality for anyone seeking a supreme audio performance and gaming experience. Embedded mercury-free LED backlighting and Eco-mode features energy-saving with the three-phase self-adjusted power-saving mode. VX2770sml-LED reproduces refined and natural image quality to meet the requirements of computer applications of businesses, graphic design, video production, gaming, and HD video entertainment.

About ViewSonic

ViewSonic® Corporation, headquartered in Walnut, California, is a leading global provider of computing, consumer electronics, and communications solutions. Founded in 1987, ViewSonic’s mission is to be the preferred global brand of visual solutions as we continue to focus on display-centric product offerings including LED monitors, tablets, projectors, digital signage displays, smartphones, and cloud computing solutions.  ViewSonic continues to pioneer in visual technology innovation to build a connected and ever-reaching digital future. For further information, please visit ap.viewsonic.com.

Apacer The Wolverine Movie Tie Up

29 Jul

The Wolverinefierce fight in Japan, pursuing lost memories

Apacer’s fourth cooperation with 20th Century Fox, best of 2013 summer!

 

Apacer, the pioneer in digital storage, will ally with 20th Century Fox for the fourth time in 2013. They will follow the amnesiac Wolverine’s (starring Hugh Jackman) footsteps to Japan, looking for the lost memory! For coordination with Fox movie The Wolverine released worldwide, Apacer will launch the “fierce fight in Japan, pursuing lost memories” campaign in 15 countries of the world. Anyone who purchases Apacer’s limited edition The Wolverine movie-themed products will have an opportunity to get the co-branded premiums of Apacer and the Wolverine: movie-themed T-shirt, headphone wire keeper, sun shade, DIY paper speaker, big bag with Wolverine claw pattern, etc., for a limited time only, while supplies last.

The limited edition The Wolverine movie-themed products, all series painted with ink-washed, black-and-white Wolverine totem, highlight the invincible and charismatic Wolverine. Three of USB3.0 Devices (AC233 portable HDD, AM531 Card Reader, AH350 Flash Drives) will be supplied with a bonus sticker painted with muscular Wolverine, which would boost the Wolverine-ness of your Apacer products!

Apacer’s The Wolverine movie-themed products include AH350 USB3.0 Flash Drives, AH132 / AH326 Flash Drives, Micro SDHC CL4 cell-phone memory cards, AM531 USB3.0 Card Reader and AC233 USB3.0 Portable HDD.

 

About Apacer
Apacer Technology Inc. offers a wide range of industrial SSD, digital consumer products and memory modules. Together with its broad R&D, design, manufacturing, and marketing strengths, it has become a leading global manufacturer in the industry. Since its establishment, Apacer has always followed its promise, “Access the best,” to produce reliable, innovative products and services. Apacer supplies customers with high performance, reliable, high value memory modules and flash memory via a marketing network that stretches across worldwide distributors, product manufacturing facilities, and retail consumers. Apacer provides innovative, state-of-the-art digital storage products to store, record, and share the digital information crucial to their work and essential to their daily lives.

TWISTCODE LEVERAGES GPU POWER FOR BIG DATA

19 Jul

 

TWISTCODE LEVERAGES GPU POWER FOR BIG DATA

 

Founded in 2006, Twistcode does research and development in high performance computing technology, especially massive-parallel computing and applications using central processing units (CPUs) and graphics processing units (GPUs). It thrives in accelerating any repetitive algorithm and/or process in most environments.

 

With its focus on high performance computing, the young and dynamic company hopes to let its clients – enterprises and government organisations – concentrate on what’s important to them. It provides services such as rendering and modelling, and tweaks technologies and twist codes to adapt to customers’ needs.

 

Frustration over cell architecture

It was frustration over Sony’s cell architecture that prompted Twistcode to consider other options for its work.

 

“We were testing the Sony cell infrastructure for gaming and wanted to learn more about it. However, it was difficult to code and we had problems getting licensing from Sony, said Nurazam Malim bin Sidik Malim, Chief Executive Officer of Twistcode.

 

CUDA impressive

In 2007, the company began looking at CUDA, a parallel computing platform and programming model that enables dramatic increases in computing performance by harnessing the power of the GPU. Twistcode was impressed with what CUDA could do.

 

“We chose CUDA because it is well documented and expanding rapidly,” noted Nurazam.

 

Since then, Twistcode has been using CUDA and NVIDIA GPUs for a multitude of projects, the latest being in high performance computing on big data framework in partnership with Telekom Malaysia (TM) R&D.

 

High performance computing on big data framework

According to Nurazam, they are combining big data and GPU together because they see a convergence of high velocity big data with high computational problems.

 

“We work with Twistcode because we wanted to find a better way to traditional Grid computing, which is distributive computation, whereas big data is about distributive instances. Each worker will have a GPU to work on sub-instances,” said Mohammad Shazri bin Shahrir, Researcher of TM R&D

 

Under the project’s high performance computing on big data framework, rich input will result in rich output through the process of acquisition, marshaling, analytics, and action.

 

In the acquisition stage, GPUs add value by decreasing computational time of compression and encryption and ensuring secure communication with high throughput. When marshaling, there is a reduction in computational time of compression, improvement in storage security with encrypted storage, and secure storage with fast access.

 

Moving on to the analytics stage, GPUs cuts computational time for analytics, migrates more algorithms towards ad-hoc analytics, and achieves high performance analytics with rich and ad-hoc output.

 

In the final stage, action, GPUs are able to deliver richer presentation on an ad-hoc basis from a bigger array of algorithms for reports and dashboard.

 

The GPU difference

To highlight the difference GPU computing can make, Nurazam shared that the Malaysia Genome Institute used 20 Xeon dual-socket processors and took 14 days to generate one DNA while Twistcode used one NVIDIA GTX 690 and took just 5 days to do the same thing.

 

“To create a model of a 47-storey building using Esteem 8, it took 300 minutes on a very fast computer but just 18 minutes with an NVIDIA GTX 690,” he added.

NVIDIA Quadro K5000 Powers Switch to Adobe Edit Workflow for Stargate Studios

18 Jul

NVIDIA Quadro K5000 Powers Switch to Adobe Edit Workflow for Stargate Studios

 

Stargate Studios is a global, award-winning production company specializing in virtual production and visual effects with offices in Los Angeles, Atlanta, Berlin, Vancouver, Toronto, Mumbai and Malta. Stargate’s 250 artists and supervisors deliver VFX for hit shows The Walking Dead, Haven, Grey’s Anatomy, Californication, Private Practice, Touch, and more.

Stargate’s in-house editorial team is in the process of transitioning from Final Cut Pro on MacPro machines to Adobe Premiere Pro, a decision made in part to standardize all creative teams on the PC platform. In order to benefit from the GPU-accelerated playback in Adobe Premiere Pro, Stargate editorial supervisor Anthony Safarik tapped NVIDIA’s new Quadro K5000 GPU based on NVIDIA’s Kepler architecture, the world’s fastest and most efficient GPU architecture, to give their workflow an unprecedented boost.

Challenge

When Stargate initially started transitioning their editors to PC workstations, they needed to devise systems that would meet the performance demands required to replace Final Cut Pro. One of the benefits of working in Final Cut Pro was the ability to generate temp effects in real time—with the downside being that everything had to be pre-rendered into ProRes, a time consuming process for Stargate’s editors.

“When we were looking to switch over from Macs to PCs in our editorial pipeline, we knew we had to find a solution that delivered the same real-time effects performance as Final Cut, but that cut out the time consuming step of pre-rendering into ProRes, which would take at least a full hour per 20-minute clip,” explains Safarik. “As VFX editors, we do a lot of temp effects like color correction, speed changes, and scale changes in order to give the compositors a strong starting point when we hand off our files. So being able to get a jump start on VFX during the editorial process is key for us.”

Solution

Working with NVIDIA Quadro K5000 cards in their Lenovo ThinkStation D30 workstations facilitated the workflow boost that enabled Stargate to transition their editing completely onto Adobe Premiere Pro.

Adobe’s Mercury Playback Engine in Premiere Pro leverages NVIDIA Quadro GPUs and NVIDIA CUDA parallel-computing architecture to deliver up to eight times faster performance for key features, including Uninterrupted Playback, Warp Stabilizer, Three-Way Color Corrector, and Multi-Cam Support. The GPU-accelerated Mercury Playback Engine also enables fluid playback of cutting-edge video formats including DSLR, RED 4, and 5K native footage.

“This was our first time working with a GPU-acceleration, and with the K5000 driving the Premiere Pro Mercury Playback Engine, the speed increases just blew our Final Cut performance completely out of the water.”

“We did a session for an episode of Californication where we were working in a logarithmic color space—and in the past when we did these sessions we would have to spend an hour upfront to encode to ProRes, apply the effect then spend another 20 minutes to render it out into linear color space for review. With the Quadro K5000 and Adobe Premiere Pro, we were able to eliminate an hour of upfront rendering and the extra 20-minutes of rendering the linear effect on top of that. That amounts to a substantial time savings when there’s a room of producers, directors and visual effects supervisors standing over your shoulder,” continued Safarik.

Impact

One recent example of Stargate’s new workflow in action was on a shot for Californication. “We were going over a crowd duplication scene, I didn’t have a lot of time so I just loaded the client shot directly into Premiere Pro, and with the Mercury Playback Engine running on the Quadro GPU, I was able to apply color correction and rendering instantly to examine different ways to pull off the shot. Being able to examine all the different options in person, in real time helps the client make confident decisions, and helps us produce better work,” said Safarik

“It’s also a huge boost for us that everyone at Stargate is now on the same platform, working with the same file formats, and being able to leverage Adobe’s Dynamic Link to work seamlessly between Premiere Pro and After Effects. Adobe is streamlining our workflow, and the power boost that NVIDIA’s Quadro K5000 provided has been critical to our successful adoption of Premiere Pro,” concluded Safarik.

 

NVIDIA Maximus Breaks Barriers for MotoCzysz

11 Jul

NVIDIA Maximus Breaks Barriers for MotoCzysz

 

MotoCzysz is a Portland based design firm that is best known for its winning electric motorcycles.  MotoCzysz wins races with inspired design, performance, technology, and innovation. Driving this innovation is the MotoCzysz engineering group, which relies on using the best technology from partners such as NVIDIA, SolidWorks, Bunkspeed, Boxx, and others.

The company was founded in 2003 and is led by visionary Michael Czysz who brings his passion for speed into everything they do. In 2006 the company made a bold transition from petrol-powered motorcycles to the electric racing frontier. MotoCzysz is unique to the industry as its in-house team both designs and fabricates a majority of the components used in their motorcycles and D1G1TAL DR1VE™ products. These innovative designs have caught the attention of major vehicle manufacturers, including Segway, who recently hired the firm to modernize the look and performance of their iconic personal transporter. Since 2009, the firm has also earned great success competing in electric motorcycle races across the globe. This year, MotoCzysz hopes to create an aerodynamic bike capable of setting a new land speed record.

CHALLENGE:

MotoCzysz engineers are always refining their designs in order to create the most powerful and light-weight components possible. However, their single-GPU workstations relied on an older generation NVIDIA Quadro card, which meant engineers couldn’t take the time to render designs at full quality. With a team of just six full-time employees and a limited budget, MotoCzysz had to balance design decisions with cost concerns, all under a very tight schedule.

 

For example, MotoCzysz engineers developed a new fairing design—only to discover after they actually produced the part that it included surface imperfections that had to be fixed using body fillers. Had they been able to complete a more detailed render during the design process, the engineering team would have caught the imperfections and subsequently altered their design before the part went into production, thereby saving money, time, and most importantly weight on the vehicle.

What the MotoCzysz team needed to stay competitive was a better tool for going to production directly from digital designs. However, they also needed a budget-friendly solution that wouldn’t deplete existing computing resources. MotoCzysz relies on SolidWorks for roughly 90% of their project work, and was investigating other rendering and analysis tools. The team found their solution with NVIDIA® Maximus™ workstation technology and Bunkspeed rendering tools.

SOLUTION:

Since early 2011, MotoCzysz has relied on 3DBOXX 3960 XTREME workstations from BOXX Technologies. However, as MotoCzysz began to take on more complex surfacing projects, a workstation with greater GPU capabilities was required. Utilizing a dual-GPU configuration of a Quadro K5000 and a Tesla K20, and built on NVIDIA’s fastest-ever Kepler GPU architecture, a Maximus based system, the 3DBOXX 4920 XTREME provided immediate performance benefits for MotoCzysz Senior Engineer Nick Schoeps and his team. In fact, the upgrade resulted in a huge boost in productivity when designing in SolidWorks 2013, an application optimized to run on the Quadro K5000.

 

“The reason why NVIDIA Maximus makes sense for us is because we can create fully rendered images of a bike before we actually build it,” explained Schoeps. “A major manufacturer might make several passes, create a physical clay model, and then make further refinements to the design. With our small staff and budget we need to do it all in one pass. Previously, in order to make the render manageable, we’d have to turn off many graphics features and simplify our models. We would make an educated guess and hope for the best. With Maximus we can utilize all the graphics features and create physically accurate renders to see exactly how the bike will look, every detail, and tweak things as needed while still in that rendering phase – that’s a huge advantage and something we hadn’t been able to do before.”

 

With their previous workstation setup, MotoCzysz engineers were manipulating models at a lower frame rate and with simplified versions of their designs. Now, when running SolidWorks’ Real View Graphics, they are able to look at curvatures of the surface of their designs with no lag. This level of detail has enabled clients and project supervisors to make design decisions earlier in the process, saving time and money for the team.

 

Maximus has also earned rave reviews for Bunkspeed Pro, which leverages the NVIDIA iray rendering technology – allowing engineers a photo-realistic facsimile of what their designs would look like if they were physically built.

“Raytracing in Bunkspeed Pro is surprisingly fast on Maximus. We’re able to quickly visualize parts and examine the surface quality of our designs,” continued Schoeps. “One of the greatest benefits of Maximus is being able to run Bunkspeed raytracing in the background, while continuing designs in SolidWorks.”

IMPACT:

The Maximus technology in the BOXX Workstation improved and refined MotoCzysz’s workflow in several important ways. The new benefits in design and rendering have allowed MotoCzysz engineers to look at their designs from a totally new perspective, incorporating both faster development and a higher quality product.

 

“Maximus lets us do our job properly,” said Schoeps. “Before we’d render as best we could, produce a part, and then occasionally have to go back and start all over again. Now we can render at a much higher level, so prototyping is much more informed. We catch imperfections far before we anything reaches production. It forces us to look at our designs differently – and more effectively.”

 

While a relatively new tool for MotoCzysz, the Maximus Workstation has helped accelerate adoption of Bunkspeed Pro.

 

“Bunkspeed’s performance on the Maximus system has been outstanding,” said Schoeps. “I can rotate the model and it updates the design in real time, so I can see how the different design features are interacting and how light is reflecting from different angles, all in a high frame rate.”

Schoeps concluded, “The bottom line for us was the cost of Maximus versus the cost of hiring another engineer to shoulder some of the render and design time. It’s a no-brainer. Having real time feedback and knowing that your design is correct on the very first pass – that gives us about a 20-30% increase just in time saved alone. The speed and the quality of what we can do is outstanding – I think Maximus will certainly be a factor in helping us reach our land speed goal. Maximus can definitely add value to any design firm that works with complex models.

Links:

www.MotoCzysz.com

www.nickschoeps.com

www.nvidia.com/maximus

www.nvidia.com/irayBunkspeed

http://www.nvidia.com/Solidworks

http://www.nvidia.com/object/workstation_wtb_partners.html   BOXX Technologies

Factory Fifteen Illuminates Architectural Visualization Workflow with NVIDIA Maximus

11 Jul

Factory Fifteen is a UK-based multidisciplinary film and animation studio specializing in architectural visualization for clients that include Knights Architects, Wilkinson Eyre Architects and MVRDV on projects ranging from Olympic stadiums to major bridges. The studio has won many awards for its work including Golden Age’s “Best Architectural 3D Film” and Megalomania’s “Best Architectural 3D Image.”  Their architectural work has been featured in many leading architectural magazines, books and design blogs, and their film shorts have also been recognized by the Sundance Film Festival, SXSW, The Creator’s Project, The London Short Film Festival and others.

Challenge:

 

When creating animated visualizations for architects, there is no margin for error. Every detail must appear as it would in the real world for this exacting clientele. In order to achieve the highest level of polish in their scenes, Factory Fifteen makes extensive use of high-resolution 360-degree HDRI (high dynamic range image) libraries to set the stage for each of their projects. Just to position an HDRI into a scene so that it matches either the sun or digital lighting placement can take anywhere from 5-10 test renders, a process that kicked off each project with a minimum of 45-minutes worth of work on the CPU.

 

Moreover, all of Factory Fifteen’s projects require multiple test renders to ensure that shifts to lighting or materials in a given architectural model are hitting the mark. Running these test renders on the CPU would freeze a workstation for anywhere from 5-15 minutes at a time, dramatically impacting project continuity and as a result, limiting creative choices.

 

“Most of the time when lighting a scene, I can make up to 30+ test renders before I am happy with the result. Depending on file size and render times, this could take half a day to tweak on the CPU,” said Paul Nicholls, Co-Founder, Factory Fifteen. “The disadvantage of this method is that you get impatient and change multiple settings at once to limit the amount of test rendering you have to do. This can lead to not knowing exactly which changes worked and which didn’t—and ultimately you don’t feel like you’re 100% in control of the creative parameters you’re setting.”

 

Solution:

 

Nicholls had some previous experience with NVIDIA GPUs and thought that a dual-GPU Maximus system might help tackle the core pain points in Factory Fifteen’s workflow. Factory Fifteen installed an NVIDIA Maximus system, an HP Z820 workstation outfitted with NVIDIA Quadro 5000 and Tesla K20 GPUs.

 

“With the Maximus setup the feedback is so instant, I could make incremental changes separately and see the effects of a setting change in near real-time. For the first time I felt completely in control of the test render and its final look,” said Nicholls.

 

“Even more useful than lighting feedback was the material setup feedback I got with V-Ray RT running on Maximus. When creating complex realistic materials you create several maps for reflection, glossiness, bump and displacement. Each of those maps will separately need to be tweaked in material settings to get just the right look. This can be a tedious process of test rendering multiple times and you often change the settings without being able to preview how it might turn out. With Maximus I’ve been able to fine-tune scenes knowing how the changes would impact my projects rather than rendering blind—and it speeds up my process tenfold,” Nicholls continued.

 

Another benefit of working on Maximus is that it enables Factory Fifteen to instantly position HDRI images into scenes. On the CPU, Nichols and his team would have to load the images and rotate them by 15 degrees per test render until they accurately matched the lighting within a scene. On Maximus, HDRI placement happens instantly, saving at least 45 minutes at the front of every scene setup.

Impact:

 

Factory Fifteen artists can develop materials in Photoshop on one screen, and in real time see what the effect of those materials would be on a model in 3ds Max with a test render in V-Ray RT when working on a Maximus system. Additionally, there is no slowdown in the viewport while making modifications to a model.

 

“I have found that using V-Ray RT with Maximus has changed many of my usual 3D workflows,” explained Nicholls. “I can continue working within the model while having one of my other screens on the V-Ray RT window, so it’s allowed me to develop materials while modeling and setting up scenes.”

 

With Maximus, the near real-time feedback allows Nicholls and his team to make more incremental tweaks to lighting and materials with the flexibility to adjust materials and lighting details without freezing up entire workstations.

 

“The method of test rendering with the CPU and waiting for each render to finish before making another small adjustment to the render, lighting, or material settings now seems totally outdated,” concluded Nicholls.

RICHMANSTUDIOS RELIES ON NVIDIA GPUS TO PRODUCE UPCOMING FILM

11 Jul

Founded by Rich Ho in Singapore in 2004, Richmanclub Studios is a motion picture production company. Its first official production was the short film, “The Alien Invasion” in 2004, which has been shown around the world. The film was the first Singaporean film to be nominated for the “Chinese Oscar”, The Golden Horse Awards 2004 for Best International Digital Short Film.

 

The studio has also won the Special Technical Achievement Award (Hive Film Festival), Audience Favorite (Substation First Take) and the Asia-Pacific wide Gold Award-Digital Art (ACMSIGGRAPH ComGraph).

 

In 2011, Richmanclub Studios launched two additional departments – Richopus Music to offer music production services and IVIVFX to provide post-production services.

 

CHALLENGE

“In the past, smaller independent studios like mine, had to struggle with having our vision hampered by the cost and time restrictions from traditional technology in movie making. Compromise in quality always seems to be spoken about, and much time is spent on making things work rather than focusing on the artistry of creation and storytelling. We were looking for something that would enable us to work faster and improve the production flow,” said Ho.

For its upcoming movie “The Boy and His Robot”, the studio began looking at technologies to expedite and improve its film-making processes. Its objectives were to use technology to support artistry and achieve high quality results with low cost and time.

 

Ho noticed that his brother-in-law was playing games using NVIDIA GPUs and was impressed by the visual quality. As a keen follower and technologically driven director, Ho was fascinated by the power of GPU computing and its application in the film-making industry.

 

“What NVIDIA has done for gaming should be good for film-making. As a movie producer/director, who often creates story-driven films heavy in visual effects, I am very excited about the possibilities created by NVIDIA’s groundbreaking advancements in the GPU,” believed Ho.

 

He was also impressed with how CUDA was able to accelerate applications and plans to leverage CUDA for rendering in production and real-time editing.

 

SOLUTION

Together with NVIDIA, Multi-plAtform Game Innovation Centre (MAGIC) at Nanyang Technological University, Sony, and OTOY’s OctaneRender, Richmanclub Studios seek to produce and showcase the world’s first live-action short movie, with visual effects that are almost entirely rendered by GPUs , and journey towards employing a new post production workflow and technology that may just change the traditional landscape of movie making.

Richman Studios and its partners are using a range of NVIDIA Tesla and Quadro GPUs for the production of “The Boy and His Robot”.

 

IMPACT

According to Ho, industry tests of rendering have shown that GPU performs 68 times faster than CPU. To achieve the same results, GPU cost is just 7.6 percent of CPU cost.

 

It also took one hour to render a room on a CPU. Using the GPU, the process took just 10 minutes.

“These results prove that with GPU technology, things can be accelerated for film production. NVIDIA enables films to be visualized and creates photorealistic qualities for the screen,” said Ho.

 

“The Boy and His Robot” is targeted to be distributed over the internet and film festival circuit at the end of this year.

 

“This deadline would be impossible using CPUs but it can be done using NVIDIA GPUs,” said Ho.

 

 

 

NVIDIA Quadro K4000 Helps Pixomondo Create Alien Worlds for Star Trek Into Darkness

10 Jul

Pixomondo is an international visual effects company that utilizes a 24-hour production cycle enabled by a global network of facilities for feature film, television and commercial projects. Recognized with an Academy Award™ for HUGO and an Emmy Award™ for the second season of Game of Thrones, the company’s artistic prowess is further evident in its stunning visual effects work for J.J. Abram’s epic Star Trek Into Darkness.

Working with unprecedented scene scale, Pixomondo created about 300 shots for Star Trek Into Darkness, approximately one third of the film’s visual effects. As with most of the company’s larger projects, shots were distributed throughout Pixomondo’s worldwide studios based on available bandwidth and individual strengths, with the Los Angeles office serving as the lead.

 

Ben Grossmann was Pixomondo’s overall VFX supervisor on the project, with Enrico Damm managing the 25 CG artists in Los Angeles responsible for one of the most action-packed sequences of the film. In the 15-minute scene, an alien planet slowly comes into view as seen from an aircraft. The vehicle then descends through the clouds and is forced to land. With about 80 VFX shots, the sequence is almost entirely CG – the only practical footage was taken of the crewmembers in the cockpit. Dealing with quick cuts, a lot of overall shots and massive scale, the CG team tapped NVIDIA’s Quadro K4000 GPU to accelerate their Autodesk 3ds Max workflow.

 

Challenge

 

Director J.J. Abrams wanted flexibility in final camera paths and angles, so Pixomondo had to build incredible depth into the entirely computer-generated alien city. Each scene was bursting with detail – 3D images with 130 million active polygons and up to 32GB of textures – to allow Abrams the greatest amount of freedom in camera movement. The immense of amount of required data strained Pixomondo’s workstations, hampering performance and frustrating artists.

 

When using Autodesk 3ds Max 3D modeling, animation and rendering software, artists encountered response times of more than an hour in some of these massive scenes, often freezing a system outright on their artist workstations running older model, low-powered GPUs. With The Foundry’s MARI 3D digital paint tool, artists faced verification times of a minute or more with some scenes that had over 200 8K and 16K textures, to make sure painted elements were baked properly into the UV, which meant they were waiting almost twice as long as they were working and were unable to take advantage of MARI’s interactive workflow.

 

“We pushed a lot of limits when it came to scene scale,” Damm explained. “It became impossible to navigate in these massive 3D scenes, and other programs started running slow. Assets had a lot of textures and large texture sizes we’ve never encountered. All this data required way more power to process than was available on our workstations.”

 

Solution

 

At the beginning of February 2013, Damm and his team got nine NVIDIA Quadro K4000 cards, built on NVIDIA’s latest and fastest Kepler GPU architecture, which they installed on Dell workstations equipped with HP X5000 storage servers. The K4000 cards were used most heavily for lighting and scene assembly, which was all done in 3ds Max. A significant speedup when accessing assets was the first thing he noticed after adding the K4000s.

 

“We were very impressed with how the K4000 cards impacted 3ds Max viewport performance,” noted Damm. “Once we discovered how much faster and smoother data was processed, we relied heavily on the K4000-accelerated workstations and practically had them running 24/7. When one artist would leave for the day, another artist would take over on that same system.”

Prior to adding the Quadro K4000 cards, just getting the 3ds Max viewport to open either took a long time or was altogether impossible with some of their largest scene files. With Quadro Kepler, the artists could process assets much faster and accomplish more work in a day. They could also turn on shadows in the viewport and move light sources around with real time feedback. Asset creation could be completed at a higher level of quality with less wait time and artists had more interactivity in the viewport even when working in heavy scenes. Additionally, the artists were able to work inmlarge models without turning off detail like textures and shadows, retaining more accurate previews of how a scene was taking shape ultimately resulting in a faster path to fulfilling the director’s vision for the shot.

 

Impact

 

With Quadro K4000-accelerated workstations, Pixomondo artists were able to accomplish more each day with reduced wait times and overall frustration, whereas before, making even the smallest tweaks to scenes had been a substantial undertaking. Because the scenes were so data-heavy, they had to be split into separate files to edit the various elements. If there was a lighting change, artists would have to alter the foreground first and then repeat the changes separately to the background, doubling the amount of effort and time needed to make edits. Damm tried to minimize render times by dialing back some of the detail but that often created continuity issues.

 

“Splitting the large scenes helps with the data volume issue but then artists have to compare renders to make sure any changes were executed across the scenes. If anything was forgotten, they’d have to go back and re-render so it wasn’t the most ideal solution,” explained Damm.

 

A faster workstation meant happier and more productive artists, and eliminated the need to split large scene files. Working with Quadro cards also helped mitigate machines freezing, forcing artists to idly wait around for the viewport to come back.

“Before we got these cards, I would run to the producer and scream for better machines,” Damm concluded. “It turns out our machines just needed a K4000 boost. I would even love to have more of these cards.”

 

 

NVIDIA E3 2013 Press Conference – PC as the “best gaming experience”

5 Jul

The Electronic Entertainment Expo (E3) may best be known for its launches and announcements of the latest console games, E3 2013 was the most controversial, competitive and downright crazy show we’ve seen in the recent history of gaming.

NVIDIA did some well-deserved strutting at E3 , showing off the superiority of the PC as a gaming platform.

The massive NVIDIA booth at the South Hall of the Los Angeles Convention Center was the perfect opportunity for NVIDIA to demo several new upcoming and current PC titles running on the latest GeForce GTX 770 and GTX 780 GPUs, such as The Witcher 3, Warframe, Borderlands 2: Tiny Tina’s Assault on Dragon Keep, Metro Last Light, and Splinter Cell Blacklist. Visitors to the NVIDIA booth at E3 2013 were delighted at being able to play graphically-stunning PC games in their hands.

NVIDIA’s E3 media event started at the end of a very, very long day. Relaxing was the first order of business, but it may come as a surprise to hear that not only were the attendees relaxing, but so were many of the presenters. Representatives ranging from Digital Extremes to Epic Games took the stage and had fun showing off the tech they’ve built in partnership with NVIDIA. It was the perfect atmosphere for showing off NVIDIA’s impressive tech and why PC’s will continue pushing gaming forward dragging consoles behind.

 

NVIDIA’s Introduction

After Tony started off the event he went straight into NVIDIA’s current property on gaming’s landscape.  Specifically, PC, console gaming and ventures like cloud gaming and their new Shield handheld:

  • With regards to PC gaming, Tony brought up NVIDIA’s new GeForce Experience software that lets gamers update their drivers automatically. It’s also built to help find and set optimized settings for certain games, even with the hurdle of the wide range of PC hardware out there. They’ve got a super computer working to ensure better-than-console experiences for all PC gamers running Experience. They’ve also got Shadow Play, which makes the PC like a gaming DVR, recording gameplay with almost nil performance disadvantages. Considering Experience had over 2.5 million downloads in its beta phase, I’d say it’s catching on fairly well

 

  • On the mobile side of things NVIDIA has its experimental handheld Shield. NVIDIA believes touch can only go so far, which I agree with especially considering the recent announcement of Deus Ex: The Fall. I’d love to play that game without fingers on the screen. Android games will be playable, many optimized for the Shield, providing a large catalog of titles day one. Then there’s the ability to stream games from the PC to Shield, which is a handy function similar to what the Nintendo Wii does with its Gamepad. Expect Shield to ship in the next few weeks.
  • As far as “The Cloud” NVIDIA says it’s impossible to ignore and is likely to be the next way people enjoy games. That’s why they’re working on GRID, which is a service that renders games in the cloud and then ships the display out to a device of your choosing.
  • Consoles, as always, are wonderful devices which NVIDIA trickles down tech to. Tony gave the example of FXAA for console anti-aliasing.

NVIDIA got over 200+ engineers working to deliver the best performance, graphics and game engine integration available. Part of that is developing core technology and algorithms, but also cross-platform SDKs, libraries and tools.

That includes the company’s three global testing facilities, with the primary facility located in Moscow. Testing engineers are constantly working to improve gaming performance on NVIDIA devices, running performance tests and building an assortment of tools. It’s no way to play a game, constantly focusing on improving performance in minute ways, but their sacrifice is for the greater good.

Then Tony went ahead and listed NVIDIA’s entire innovative tech that they’ve built over the past 14 years, from texture-space bump mapping to global illumination. Basically, NVIDIA’s a huge driving force behind new graphics tech and they’re not stopping any time soon.

 

 

NVIDIA’s Dominance

This introduction was just a buildup so NVIDIA could remind why they’re the leading GPU manufacturer out there. According to non-NVIDIA sources NVIDIA is currently running a 66% market share as of Q1 2013 and that’s because of the huge technology adoption across a majority of games — even higher adoption rate in highly rated games. NVIDIA wants great games to run well and they go out of their way to make it happen.

NVIDIA confirms that they’re working on game integration with all of the usual suspects: Cry Engine 3, Unity, Unreal Engine 4, Frostbite, Source and id Tech 5. Considering next-gen consoles are finally joining the 1000+ GFLOPS GPU club that NVIDIA’s been part of since 2009, the engines will have to do some work catching everyone up. Oh, and NVIDIA is stretching for 5000+ before too long.

 

 

NVIDIA wants nothing more than to work with developers to make their games better. It’s a hugely beneficial relationship between game developers and NVIDIA, but the real winners are gamers. Luckily, most developers and probably most folk at NVIDIA are gamers too.

Winners all around.