The Opposite of Reality
PBabbC4D July 26, 2021
PBabbC4D July 26, 2021
Germany-based Mondlicht Studios on the 3D-animated short they created for the Motion Design Awards
How Clonwerk used Cinema 4D and Redshift for a recent Ducati show.
How Imagination Films used Maya, Redshift and other tools to make an animated, feature-length film on a budget.
Chile-based Dyne Studios on their recent work for two iconic beverages.
Vincent Brak explains the process behind his concept artworks.
Dublin-based 3D Designer Mário Domingos explains how he’s experimenting as an artist after leaving the industry to go freelance.
How two artists teamed up to make the 3D-animated horror comedy, A Night in Camp Heebie Jeebie.
Dazzle Ship explains the suite of assets they created to promote “Bleeding Edge,” a new multi-player combat game for Xbox Series X/S.
Barnstorm explains the subtle and not-so-subtle VFX they created for The Order.
Motion designer Danil Krivoruchko explains how he collaborated with artists around the world to make Blindsight.
BigStar explains its 3D approach to creating IDs for the TCM network’s 2020 Classic Film Festival.
Optical Arts on using CG to question our perception of common objects.
Five years in the making, Researcher: Prologue is packed with VFX made with Redshift, C4D and After Effects.
Warm & Fuzzy explains their captivating VFX-driven, GIF-style videos for top brands
How Pasha Motorin used C4D, Redshift and Red Giant Universe to envision what big data may look like.
How a new London-based design studio used Redshift, C4D, Maya and Houdini to create the short film, Plume of Light.
Stormborn Studios on how their small team creates VFX for films, games and high-profile TV shows, including Man in the High Castle.
How The Mill Design Team Rebranded Al Jazeera.
M2 Animation on the battle-filled, full-CG trailer they created for Warhammer 40,000.
TA\VO Studio offers a behind-the-scenes look at the titles they created for Digital Design Days 2020
CG lead David Todman explains Sky Sports’ VFX pipeline for the 2019 International Cricket titles.
How MAKER Moving Pictures combined Redshift and other tools for two imaginative Airtel spots.
The Panics describe their cinematic dive into creativity’s dark side.
Six artists explain how they used animation to bring music to life for the Australian Chamber Orchestra’s 2020 season.
The Stompin’ Ground on how they brought a kid’s monster drawing to life in CG.
Motion graphic artist Carlos Ortega breaks down his award-winning promo for OGIO.
Rocket Science VFX on creating spaceships and environments for Alcon Entertainment’s sci-fi hit.
Visual State explains how they used CGI and Redshift for artful snack promos.
ABC explains how they used Redshift, C4D and Houdini to turn boat making into an art form.
A down-and-out reindeer makes a hero-style comeback in Ritzy Animation’s, Red.
Panoply explains the studio’s experimental approach to The Game Awards promo.
Ink explains how they used Redshift to showcase Honda’s latest sustainable charging solutions.
Toronto-based studio discusses the making of their short film, Keinon about an orphan hero battling a terrible curse
Working together for the first time Blizzard Entertainment and The LEGO Group commission Animatrix to create a compelling CGI and live-action short
Award-winning VFX house, Glassworks Amsterdam, crafted its beautiful animation with the help of Redshift
Garmin International’s in-house motion graphics team utilised the power of Redshift for its smartwatch product launch video
Version 2.6.39 adds support for 3ds Max 2020
Creative services firm, Atwater Studios wins awards with its animations for LEGO...
How Redshift helped Hydraulx to deliver demanding VFX for one of the year’s biggest blockbusters
Discover how creative technologists META: The Art of Being produced an exclusive animation of 'Flatland: A Romance in Many Dimensions' using the power of Redshift coupled with SkyScale for the Antarctic Dome powered by HP at this years Coachella Festival
Emmy Award winning CoSA VFX are at the pinnacle of visual effects for some of the coolest shows on TV. We find out how Redshift has become an essential part of CoSA VFX's workflow.
Hollywood-based Muse VFX is known for generating powerful effects and have made a name for themselves as one of the top studios in post-production for episodic TV. Their portfolio of work spans legendary shows including Star Trek, Lost and, most recently, MTV's hit series Teen Wolf, where they utilized Redshift to stun audiences with epic visuals in the series finale.
Canada's Guru Studio has emerged as a global force in children’s entertainment, creating some of the world’s best known and loved character-driven animated shows. Their brand new Netflix Original series, True and the Rainbow Kingdom, follows the adventures of 8-year old True and her cat Bartleby as they help to solve the problems of the Rainbow Kingdom. With Redshift, ‘True and the Rainbow Kingdom’ would become one of the first TV series to be exclusively rendered on a GPU.
Chocolate Tribe was responsible for over 90% of all the 140 Redshift rendered VFX shots on Robot & Scarecrow, the latest short film from acclaimed UK director Kibwe Tavares.
Montreal-based animation studio SHED create 30 days in 30 seconds for The Daily Grand Lottery.
Canadian animation studio Tendril entrance us with their short five-minute opening sequence for the American Gods series.
Gentleman Scholar is a creative production company drawn together by a love for design and an eagerness to push boundaries
Falcon's Digital Media launches Kennedy Space Center Visitor Complex's Heroes & Legends featuring the U.S. Astronaut Hall of Fame® Attraction, made possible with Redshift
Redshift has today announced its integration with the procedural animation tool Houdini, created by SideFX Software Inc.
Polygon Pictures Inc. are well-known as one of the oldest and most recognized digital animation studios in the world, contributing to an endless stream of Emmy award-winning projects. The secret to Polygon’s impressive pipeline? There is no clear border between art and technology; each supplements the other in order to create the best content possible.
The CGSociety THRUST competition provides a platform for the community to share spectacular renders of incredible spacecraft. As a key sponsor, Redshift would like to congratulate this year's winners.
Featuring the mischievous elves from the original, Blue Zoo's seasonal sequel No More Stuff was produced in record time using the world’s fastest production-quality, GPU-accelerated renderer Redshift.
Golaem now includes a rendering plugin for Redshift for Maya. Redshift users can now access all the benefits of procedural rendering with shading variety and rendering optimizations.
Photorealistic textures created by Quixel's Megascans software rendered in Redshift 2.0.
You can now access Redshift on-demand! Usage Based Licensing (UBL) for Redshift is now available via Deadline 8 and the Thinkbox Store
3D Artist Christophe Desse from Naughty Dog recently took to the stage at a Gnomon school presentation to share how he quickly renders a vehicle and achieves great results fast.
In combining the craft of physical puppetry with the digital creativity of VFX, entertainment icon Jim Henson’s Creature Shop has built something astonishing. Read how the old and new came together to deliver the Redshift-rendered Word Party.
In such a competitive field it becomes more and more difficult make yourself seen, so it was a great pleasure to be able to sponsor the 2016 CGarchitect.com Architectural 3D Awards.
Norwegian animation outfit Gimpville faced a momentous task when asked to render a commercial celebrating insurance company Gjensidige’s 200th anniversary. But thanks to experience with clients such as Ikea and Volkswagen – and with creative support from Redshift – the studio knew it could deliver an animation befitting of such a long legacy.
3D World magazine reviews Redshift 2.0, awarding it 'best in class' with a 5 star rating. Read the full review.
The Redshift community needs you! We’re on the lookout for talented artists from the Redshift community to share their knowledge through learning resources. Read on to find out how you can get involved.
Blizzard’s Overwatch shorts have rocked the gaming community due to their stunning cinematography, fluid animation, and mesmeric use of color. In order to deliver them on a tight turnaround and within a whole new pipeline, the team needed a renderer both versatile and rapid.
We’re proud to announce a new technical collaboration between Redshift and The Foundry’s lighting and look development tool, KATANA. The collaboration will work towards a Redshift plugin for KATANA that will be commercially available to purchase.
We're going to be at this month's SIGGRAPH in Anaheim! We'll be on booth 377 for demos and will be taking part in a Birds of a Feather panel, 'Rendering in 2016 and Beyond – the tools changing the trade' alongside VFX studios and other rendering innovators.
With a small team, a modest budget and little time, three creatives crafted an engaging and attention-grabbing intro cinematic for video game sequel Homefront: The Revolution. Find out how Fire Without Smoke told 50 years of alternate history in just two minutes, and discover the technology it used to tell it…
It’s here! We’ve released Redshift 2.0 – an extensive update to our GPU-accelerated, biased renderer. Read on to find out about the new features, including volumetrics, new SSS models and nested dielectrics. Expand your artistic horizons…
Having served the VFX and animation sector for two decades, Digital Dimension knows a thing or two about hitting quality. But when the team tackled 160 separate CG shorts for one single project, the studio had to deliver quantity too…
Redshift is built for speed, efficiency, and excellence, and so is VFX Legion. Read on to discover how this remote visual effects studio meets the strict deadlines of both film and television projects despite being spread across the globe – all with a little help from Redshift.
Norwegian studio Goldbox thrives in the competitive architectural visualization space. Empowered by its choice of renderer, the studio is establishing an empire on a remarkably elegant, understated GPU pool.
We catch up with 3D Artist magazine – joined by Blue Zoo, Glassworks and Outpost VFX – to find out how Redshift is revolutionizing the industry
Blizzard release Overwatch animated shorts ‘Recall’ and ‘Alive’, fully rendered with Redshift!
The rise of GPU-based rendering in the VFX and CG space is growing ever more prominent. As an alternative to rendering from the CPU, working with your GPU presents a very tempting option. But is it really worth the switch from the familiar realm of harnessing the power of your CPU? We highlight five reasons why we believe GPU rendering is the way forward in 2016.
For longer than most, MediaMonks Stockholm has been setting new standards in VFX production. Empowered by Redshift’s rendering technology, that work grows more ambitious by the day
Winners of Redshift's benchmark scene competition revealed with prizes sponsored by NVIDIA.
Redshift gets reviewed In the latest 3D Artist issue 91 and earns a full five star rating.
3D World magazine reviews Redshift with a 5 star verdict, earning best in class.
To celebrate Miffy the bunny's 60th anniversary, creative London studio Blue Zoo guided the iconic Dick Bruna illustrations into the CG realm for the very first time – all with a little help from Redshift.
We’re pleased to announce that the 3ds Max demo of Redshift is now available to download!
Technical footwear titan Nike is named after the Greek goddess of speed. So when production house Glassworks was asked to build a high-end Nike promo, it was fitting that they picked Redshift as their renderer of choice.
Award-winning animation studio Blue Zoo has rendered its brilliant Christmas short, using Redshift as its backbone. "They say you can't have quality, speed and budget efficiency at the same time – I think Redshift has well and truly broken that rule!”
To serve the demands of major Hollywood production Aloha, Hammerhead needed to deliver quality with speed. Redshift Render allowed the team to do just that.
We’re happy to announce our first major competition in collaboration with NVIDIA. The challenge is about creating Redshift’s official benchmark scene for a chance to win an NVIDIA Quadro M6000 and Redshift license for the 1st place winner.
Finding the right renderer is more about creating stunning visuals – it’s about streamlining production and giving artists the space to explore their creativity. For the Bournemouth-based Outpost VFX, Redshift is the solution that meets those needs and more.
Redshift has won the 3D World CG Award for the best new application!
Great fxguide article featuring Alf Lovvold and his zombie trailer which was rendered in Redshift!
Redshift has been nominated in the "New Application" category at #CGAwards!
Congratulations to Glassworks for "Lycra Moves You" winning Gold for Best FX/CGI at Creative Circle!
"Danny and the wild Bunch" is a short film directed by Rob Rugan. It was rendered with Redshift and has already won several film festival awards!
Glassworks, the multiple-award-winning studio with offices in London, Barcelona and Armsterdam, used Redshift to make this wonderful commercial for Cadbury.
It always makes us feel warm and fuzzy inside when we read customer stories like this one...