Only One Year Since Launch, Flare Proves Itself an Key Production Tool in Autodesk Flame–Based Workflows
LAS VEGAS, Nev., April 12, 2010 — At NAB 2010 — Autodesk, Inc. (NASDAQ: ADSK) reports widespread customer adoption of Autodesk Flare 2010 visual effects creative finishing software, launched just one year ago as a creative companion to Autodesk Flame software. Flare helps give greater access to Flame tools and helps boost productivity, expand capacity and develop talent. Flare 2011 and Flame 2011 both launched today at the National Association of Broadcasters (NAB) Show.
“We launched Flare a year ago at NAB because our Flame customers told us they wanted more access to the Flame tools they depend on every day,” said Stig Gruman, Autodesk vice president of digital entertainment. “The key to Flare is flexibility, and we’ve seen our customers use Flare in workflows ranging from assisting a Flame suite on a particularly challenging project to bringing the entire Flame creative toolset out of the suite on set. Clients worldwide have reaffirmed that Flare is helping them grow their businesses by enabling them to tackle tougher jobs with more access to their best creative tools while raising the creative bar.”
Smoke & Mirrors UK bought the first Flare license at NAB 2009, and Smoke & Mirrors New York (SMNY) was the first to use Flare on set during a shoot — “The Beatles: Rock Band” video game trailer. Simon Hester, head engineer at SMNY, said, “Flare impressed everyone that witnessed how it brought Flame capabilities to the set. Back at the studio, it works seamlessly with our Flame’s and the other Autodesk systems in our powerful, efficient pipeline.” Nic Seresin, lead visual effects/Flame artist and visual effects supervisor, said, “Bringing the Beatles’ ‘Abbey Road’ album cover to life was one of the trickiest, most challenging things I’ve ever done to be honest. It would not have been possible to do these visual effects without Flare.” Read more about Smoke & Mirrors’ work on this project.
In addition to the flexibility of bringing Flare on set, the software has also become an integral part of training up-and-coming talent. “Our five Flare systems working alongside our Flame software help give us a tremendous boost when it’s time to deliver,” said Dave Waller, founder, Brickyard VFX. “The junior artists are quickly getting experience in the suite cutting mattes, setting up shots and helping out our senior artists. Clients can’t believe how fast their jobs get done.” With the help of Flare, Brickyard created three recent projects: a Toyota “Sponsafier” NASCAR-themed campaign and two commercial spots ⎯ Titleist’s “Yardage Book” and Palm’s “Pass the Pixi.”
The Mill NY created the Super Bowl−premiering Budweiser “Bridge” commercial with Flare. “We needed a tool for young artists to learn the Flame toolset in order to become the next generation of senior operators,” said Angus Kneale, creative director, The Mill NY. “Flare allows us to do that and to keep the same quality levels that we’re known for, while still being able to deliver on time and on budget.”
In this business climate where efficiency is integral to the post-production process, the interoperability of Flare, which shares the Flame creative toolset, is even more beneficial. Click 3X in New York used Flare, Flame and Autodesk Maya software to help create the high-profile talking baby E*Trade commercial campaign consisting of “Girlfriend,” “First Class” and “Tears,” which premiered at the Super Bowl.
The growing roster of Flare customers includes BOND (United States), Def2shoot (France), Digipost (New Zealand), Éclair Laboratories (France), Fuel (Australia), Futureworks Media (India), Light Film Serviços Audiovisuais (Portugal), Lola Visual Effects (United States), Optima Digital (Philippines), Télétota (France), WRKs bv (Holland) and 1000 Volt Film (Turkey).
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