Congrats to the 2016 Pipeline Award Recipients!
We had the honor of recognizing excellence in pipeline tool development and people who have made significant contributions to the pipeline community at the 3rd Annual Pipeline Awards at Siggraph yesterday!

Allan Johns (left) accepting his Shotty Award for Rez, and Janice Collier (right) accepting this year's Hero Award

We were once again blown away by the spectacular range of submissions we received, covering everything from artist tools to integrating Shotgun into an educational curriculum to tools for publishing, review, reporting, and more!

Once again, we recognized two types of contributions – pipeline tools (cleverly-developed, elegant solutions that solve problems common to many studios) and pipeline heroes (people who have moved the field forward within the Shotgun community and out in the wider industry). Without further ado, here are Shotgun's 2016 Pipeline Award recipients:

Pipeline Shotty Awards
For the top tools of 2016

Rez, Allan Johns
Rez is an open source, cross-platform package manager which creates standalone configured environments for third party and internally developed software. Rather than installing packages directly into environments like most other package managers, Rez installs all package versions into repositories on disk and references them in dynamically-created standalone environments. Rez is widely used by the pipeline community and solves countless package management problems for pipeline developers in VFX and animation production around the world.


Blur Dev Tools, Blur Studio
Blur’s open-source software has provided Python integration for 3ds Max for many years, and has acted as the foundation for visual effects and animation pipelines around the world. In addition, a bevy of workflow-enhancing tools for 3ds Max are provided and have given countless artists a substantial boost in speed and capacity. The ability for engineers, technical directors, and artists to write their own tools using Python and build their user interfaces using the Qt framework in 3ds Max has made Blur’s open-source plugins invaluable to the industry at large.


Shotgun Task Triggering Workflow, Brown Bag Films
Brown Bag Films has developed two tools - a Task Trigger Workflow Setup utility and a Shotgun Trigger Engine - which help them track the steps required to move tasks along in their asset build pipeline, from artist to artist or project to project. Tasks are pre-created using the task templates and then assigned to artists. When a task is set to “Ready to Start” it goes into the artists queue. Once they have finished their work, the task is set to “Complete” and the triggering engine then sets the next task in the workflow to “Ready to Start” moving it onto the next artist.

Burrows Dropper Ganger Tool, Burrows CGI Studio
The Burrows Dropper Ganger Tool enables artists to easily drag assets from within Shotgun in the browser and open them within other applications including Maya, 3ds Max and Rhino. As assets are dropped into the application window, the URL link from the associated webpage is used to set the context, so assets are connected to all of the right things in the pipeline. This tool has massively impacted the speed at which artists at Burrows CGI open hundreds of individual files.

Pipeline Hero Award
For people pushing the field of pipeline forward significantly, within the Shotgun community or in the broader industry

Janice Collier, Mammal Studios
Janice was recognized with the Pipeline Hero Award this year for her outstanding contribution not only to Mammal where she has helped create a pipeline for the 15-person company on par with international facilities 10 times their size, but also for her contribution to the ongoing development of Shotgun’s Toolkit. She has provided valuable feedback over the years through her participation in debugging sessions and willingness to have longer discussions with the Shotgun team on Mammal's workflow - ultimately benefiting the entire Shotgun community.


Shotgun & RV 7.0: Unveiling at Siggraph!
We’re excited to announce Shotgun and RV 7.0, featuring Shotgun Review’s first step into the world of editorial. This release is full of new tools and features aimed to simplify editorial workflows - allowing users to spend more time creating and less time coordinating. With new editorial-aware playback tools across web and RV, and improved integrations with your favorite creative apps, it's easier than ever to get cut info into Shotgun and review in context of a cut.

See it in action at Siggraph!

We’re at Siggraph where we’ll be showing what’s new all week at our booth #337, so if you're here be sure to stop by to check it out.

More Goodness in Shotgun & RV 7.0

Editorial specific views in the Global Media App allow users to easily browse and manage all of their cut data inside Shotgun.

A new Cuts Tray in the browser and RV lets users quickly see their latest work in context of the cut. Switch between full or mini cut mode, filter by status or pipeline step, and browse through different versions of a cut.

An Import Cut App publishes editorial information to Shotgun and automatically generates a cut summary that can be shared across your team.

Updated Toolkit integrations let users publish editorial information directly into Shotgun from their favorite creative apps like Flame, Heiro, and Nuke.

An official editorial schema gives studios the ability to deeply integrate their editorial pipelines with Shotgun with ease.


Siggraph Party!
We're throwing a Siggraph party for all of our friends, and we'd love to see you there! 

Come join us for some friendly competition on the K1 Speed go-kart racetrack, followed by drinks on us. Capacity is limited so be sure to RSVP.

Wednesday, July 27th, 9pm-1am

K1 Speed
1000 N. Edward Ct. 
Anaheim, CA

Hope to see you there!

The Shotgunners

How to set up Shotgun for the first time at a studio
Before my current position at Autodesk, I did a lot of freelance consulting for studios using Shotgun. Usually a client brought me in because they liked Shotgun as a product and could see that it could have a big benefit for their bottom line, but they knew that the way they had implemented it was less than ideal. They didn’t know how to fix it, but they knew something was wrong, and now that they were already using the tool in production they needed help to backtrack and change their configuration.

Now that I’m working with the Shotgun presales team, I’m much more likely to talk to clients when they are first getting started. It is a lot harder to fix a database that has gone indescribably wrong than it is to set one up correctly at the beginning, but it is also hard to know how to set something up correctly when you haven’t used the product ever before.

Here are 5 simple tips to help you get started on the right foot.

1. Start with one project
It is a lot easier to roll out a new pipeline for one project than to roll it out across an entire studio at once. It makes it easier to change course if it turns out something isn’t working, and it lowers your initial investment of time and resources. Shotgun comes with a free 30-day evaluation - that may be enough to get you started on one project. If you need more time for an eval, reach out to support and we will do our best to accommodate.

When I’m helping studios choose their pilot project to try out Shotgun, there are 3 things that we look for:
1) Avoid enormous projects for your pilot. Trying out something new is easier on a small or medium-sized project.
2) Avoid a project that is radically different from the usual work you do. If it’s a one-off situation, what you learn from the pilot might not apply to the rest of your workflow.
3) Most important, choose a project where the team working on it is excited about trying out something new.

Everyone has a different appetite for risk and change; some skepticism is healthy, but if someone is cynical about any improvement you might want to introduce them to the new pipeline after someone else has tried it out first.

These three criteria can be summarized like this: choose a project that is not too big, not too weird, and not too cranky.

2. Make a roll-out plan
Once you know which project you are using to try out with a Shotgun data-driven pipeline, it’s time to come up with a plan. We look at pilots in three phases.

This is just taking a look at what kind of pipeline you currently have. This is the most important step in the roll-out process, even for studios with relatively simple pipelines. Take the time to talk to the people doing work at your studio and find out how the work is actually getting done today. Often there will be some surprises - tools aren’t always used the way they were originally intended. Because a pipeline is made up of people, it is always changing and adapting to new circumstances - so starting with a discovery process can help avoid surprises later.

This phase can take on different shapes at studios. If there are a lot of automated tools, you may need to allocate some time to get those working with Shotgun. You will also need time to build out your Shotgun pages and configuration. There is always some training needed for the team. Even if your team has used Shotgun before (and that certainly helps) you need to decide how to set it up at this particular studio for this particular workflow. This is a good time to reach out to support for a tuning session and someone from Shotgun Street Team can help you configure your Shotgun site to match how you work.

This is the term we use to describe the first few weeks of using Shotgun in production for the first time. We want and expect that you will use our support services more heavily during this period, usually the first 2-6 weeks after Shotgun goes live. This is when any big issues with the new pipeline will become clear, so you want your team to be ready to address them quickly. This is also a good time to look for small usability issues with your setup that can be easily fixed early on in the process and will save time and frustration later. These won’t always get reported - you may have to seek them out by talking to your team as they’re ramping up.

After the first few weeks of use, Shotgun should become a natural part of your workflow. From that point on, you will continue to maintain and develop your pipeline as you did before, but with Shotgun now integrated into it. You can then start rolling out Shotgun on other projects at your studio, repeating the phases above.

3. Ask for help
We have a lot of resources to help clients who are getting started with Shotgun. As I said before, it’s a lot easier to set it up correctly at the beginning than to correct it halfway through - and we have resources to help you with that too.

Street Team
The Shotgun Street Team should be the first place you turn for help with Shotgun. You can create support tickets at our support site or by emailing Street Team is a small team of industry experts, and you will get to know them personally if you reach out for support. They have all been on the other side as clients before they joined our support team, so they understand your pain.

Pipeline Services Team
The Shotgun Pipeline Team offers help with on-ramp and integrations (such as new Toolkit setups) on a consulting basis. They can come to you for an on-site tuning session, on-site training, develop custom solutions, or implement a variety of specific pipeline tools that match your workflow. Reach out to support and we will put you in touch with someone about a visit.

Online Documentation and Forums
Our support site includes online documentation, training videos, and a forum where users ask questions and share feature requests. You can create support tickets, check out our forums, and make feature requests all in the same place. Shotgun developers also have a user group where they share tips, tricks, and pipeline woes to a community of like-minded folks.

Both the Street Team and the Pipeline Team can help you at the beginning of rolling out a new Shotgun instance, and they can also help you improve your setup once you are up and running. The Pipeline Team offers some of the same services in terms of tuning and training, but they will go more in-depth, like coming on-site and delivering custom code to help you automate and integrate key parts of your workflow. Pipeline Team work is negotiated as a separate consulting contract from your Shotgun licenses.

4. Configure Shotgun to match your existing workflow
Everyone can see ways that their pipeline needs improvement. When you introduce a tool like Shotgun, there is an opportunity to take stock of the current situation and possibly streamline how things are done.

However, it is usually a mistake to change your workflow in order to match a new tool. Shotgun is highly customizable, and the more you are able to match Shotgun to the way you work currently, the easier the transition will be.

Because it’s so easy to make changes to the configuration in Shotgun, you can further develop your pipeline as you continue - in fact, you can never really lock down your pipeline completely. Pipelines are always changing. The hardest part of making the switch to a new tool is helping people become accustomed to a new way of working - and that transition is easier if the new tool matches their old habits as closely as possible.

Most of the time you are working under a deadline at high performance: your team depends on having their work be second nature. Make changes incrementally, and it will be easier for them to incorporate the changes into their workflow. If you need to make big changes, account for the adjustment time in your schedule.

We don’t, however, recommend keeping production managements systems in place simultaneously on the same project. Sometimes there is a temptation to keep the old system and the new system running in tandem, so you can really compare apples to apples. No production team wants to enter data into two redundant systems -- either integrate the systems together or cut the cord and enjoy the benefits the new system brings.

5. Collaborate with your team
I talk a lot about data-centric pipelines because I believe that basing your pipeline on a flexible, metadata-rich database will make your work more efficient. But pipelines aren’t just data. Pipelines, first and foremost, are made of people doing work. Those people may use tools, and those tools may generate and share data--but when you’re looking to improve any part of your pipeline, it’s important to collaborate with the people actually doing the work.

We advise against what we call the "eat your spinach" approach to rolling out new pipeline tools or processes. It rarely works to say, "Everyone start using this now because we said so and you have to." Show people the shiny new media they can view, the crucial data that is automatically updated where they used to hunt for it, the painful process that is now reduced down to one click. You will have a hard time keeping them away from the new system.

On the other side of the spectrum, sometimes I hear clients say, “We don’t have any pipeline! We just need something, I don’t care what.” This also isn’t true. Everyone has a pipeline, but some pipelines are more manual and some use more automated tools--and you do care about your pipeline, even if you aren’t happy with it right now. It affects your costs, your ability to meet deadlines, and your experience at work. This is why I put a lot of emphasis on the discovery phase of the roll-out process, more so even than integration.

Some pipelines are more organized and some are more improvised--each comes with benefits. A very manual, improvised pipeline is also extremely flexible. This can work great for small teams, but often becomes a problem when the team begins to grow. A highly automated pipeline is great for efficiency but can become too rigid and require a lot of overhead when your workflow needs to change.

The important thing is to recognize that you have the pipeline you have for a reason, and it was developed over time by your team so that they can get their work done. Take the time to find out how they are currently working and why that method was developed.

The only example where someone really doesn’t have a pipeline is a new studio starting up that hasn’t done work before. In that case, don’t try to solve everything in advance--expect to make changes as you move forward.

No one can provide a “pipeline-in-a-box” that works for everyone, but we do have experience seeing hundreds of pipelines in action. We can recommend best practices as your pipeline evolves. A pipeline is always changing like a living organism. We give you flexible tools that you can adapt to how you work, but it’s a good idea to start out by doing a little research to learn about your own process. Our Street Team can help with a tuning session or our Pipeline Services Team can offer you a comprehensive pipeline assessment.

I hope that this gives you a little insight into how we approach the process of rolling out Shotgun at a new studio. If you are thinking of trying out Shotgun and you have any questions, please don’t hesitate to reach out. We’re here to help!

About Eli:
Eli has been working in computer graphics, animation and visual effects for 20 years. He has worked as a production manager, pipeline developer, and virtual set operator. Before joining Autodesk, he was a freelance Shotgun consultant helping studios to optimize their Shotgun pipeline. He is also an award-winning filmmaker.  

Get to know... Straightface Studios
We recently had the chance to chat with Gavin Greenwalt of Seattle-based animation, motion graphics, and VFX shop Straightface Studios. The boutique shop uses Shotgun to keep project management quick, easy, and intuitive so that artists can spend more time being creative.

What is your title?
We’re not big on formality here so my “official” title is Executive Vice President of Pixel Merges and Acquisitions, but basically that translates into being a CG and VFX supervisor. I work both on set and on the post side doing a lot of compositing, lighting and CG supervision.

How big is Straightface Studios?
We have a core team of 5-6 people and then we scale up based on projects. That’s one of the best things about Shotgun and why it’s so important to our pipeline - we can bring in freelancers quickly and get them going without a lot of orientation. We also need them to be able to work collaboratively, so if we work with artists in LA or New York we have that framework where everyone can be on the same page even if they’re not in the same office.

Tell us about Straightface and the type of projects you work on.
We were founded 16 years ago by Don Lange who was a lighting director for film and TV but wanted to expand into post. 3D was a natural extension for him to be able to apply his existing on-set lighting skills to the virtual world. Regardless of whether you use a V-Ray light or an Arri light on set, it’s all about creating great imagery by placing and shaping light. I started here ten years ago, and we’re a loyal group so most of our employees have been here at least 10 years which is incredibly rare in this industry.

We mostly do commercial work. Our reputation was really built off of product lighting for T-Mobile. At one point our work was featured in every T-Mobile TV-spot on-air. Keeping up with the pace of new product and campaign updates literally every week gave us the opportunity to demonstrate how CG could dramatically accelerate schedules over photography while simultaneously increasing the quality.

We also do production work, and recently finished a series of commercials for GlaxoSmithKline. We handled everything from pre-production and filming, all the way through editorial, post and finishing. We have great production and post foundations, so we can find the best looking and most cost effective solutions whether it’s practical or CG. We also do a lot of work for local Seattle companies like Amazon and Microsoft.

Can you describe a recent project where using Shotgun was essential?
We just finished an all-CG animation for the Pacific Northwest Ballet’s Nutcracker. After over 30 years of using Maurice Sendak’s Nutcracker sets, PNB decided to redesign their sets with Ian Falconer, illustrator and artist for the “Olivia the Pig” books. As part of this whole re-concepting of the show they wanted us to set the stage with a new opening overture. Where normally the Ballet would open to a painting on a curtain, we created three minutes of animation to set the tone and context for everything to come. Shotgun was essential on this because we had so many assets – over 1.5 million 3D trees, 8,540 3D bushes, 287 3D buildings, and 7 3D mice – so there were a lot of moving pieces to keep track of. Everyone was working in parallel on the project – I was working on lighting and look dev, someone else was working on fluid sims, someone else was modeling assets, and someone else was creating trees. Just to be able to see across the entire project where everything was, the latest versions, and comments specific to each asset in the entire giant landscape, was really useful.

We’re currently working on another curtain call with more animation and some live action as well; we'll be filming some of the dancers on stage and compositing them into this virtual landscape to further connect the ballet to the animation.

Is your team working in multiple locations? If so, where are they based? How many people are using Shotgun?
Everyone in the company is using Shotgun to some degree. Our core team is in Seattle, but we have worked with freelance artists plugging in remotely throughout the US, Vancouver, and Mumbai. We want access to the best talent regardless of where they call home. We give someone a Shotgun login, assign them tasks, and they can see notes from anywhere. It's a nice, easy way to keep track of 20 artists around the world.

What are your favorite features in Shotgun?
We make great use of the web review tool. Before Shotgun, we were relying on email, so being able to remove all the ambiguity by commenting directly on a specific video is really helpful. Instead of referencing “frame 236” in an email and trying to describe a proposed revision, I love being able to just go to frame 236, add a note, and mark up the frame. Then, the artist receives an image right in their inbox of that frame with the exact comment that applies to their shot. It saves a great deal of time and prevents errors and miscommunication. That’s my favorite Shotgun feature right now.

We have an unusual Shotgun deployment because most people are usually asking for more features, but we’re a smaller facility and have users with a wide-range of technical backgrounds, so more often than not we prefer things to be simplified and streamlined. A day for us is very fast paced with quick turnarounds, so everything we do with Shotgun has to be unobtrusive and fast. One of the nice things about the Shotgun team is how responsive they are to customer needs. They really do take studios like us into consideration when they’re developing their product roadmap.

An example of that would be when the media playback software was released. Initially, you had to sign up for an account through Shotgun and enter a password to view media. Our feedback was that it would be too large of an obstacle for our clients. So, Shotgun offered us a password-free option where people can open a link in an email and look at the media immediately. That’s an example of offering a simpler solution than some customers might need but still servicing everyone.

What content creation tools do you use in-house?
3ds Max and V-Ray are our bread and butter on the 3D side, and then Nuke for compositing. We also use Maya, Mari, Photoshop, and Deadline. We don’t want to dictate what software our freelance artists use; we want to be flexible on our end so that we aren’t cutting off any portion of the population just because they’re more comfortable using a different tool. We’re also in the process of integrating Shotgun's Toolkit into our pipeline to take advantage of the interface for 3ds Max and Nuke.

What makes Straightface Studios tick?
I think what really defines us is that we are a bottom-up company that focuses on the artists who do the work. We just want to create cool work and have fun doing it with a good work-life balance. We’re a 9am-6pm company, we don’t book a lot of overtime and we don’t have a lot of crunches, and we feel that tools like Shotgun are essential to that. Usually overtime and crunches aren’t from the project itself but from failures at the project management level, so we believe that with good planning we can work smarter. We’re not trying to dictate our vision to the world, we want to collaborate with our clients and help realize their visions.

Why is it important to pay close attention to your pipeline?
Time is money, and every minute an artist is focusing on project management or looking for an email is a huge waste of money. Shotgun helps us manage that straight out of the box. We’re paying people because they’re amazing artists, not to hunt for feedback in their Outlook inbox. We’ve made investments in great artists and that’s what we want them to be doing, creating art.

What do you do to stay connected to the artist community? 
We’re members of a number of user groups and frequent the 3ds Max and Shotgun forums. There are also some good Facebook groups out there like the Nuke group. It’s good to remain in touch with these web communities because you meet great new artists and connect directly with companies and can bend their ear, like Shotgun. I also go to tradeshows like NAB and SIGGRAPH. Both are great opportunities to meet up with people and just have good one-on-one discussions about what they’re looking for and what we can do to help them get there.

What is your favorite thing about working in Seattle?
It’s a gorgeous city, we’re surrounded on one side by mountains and on the other by ocean. It’s green and alive, you can go skiing or wakeboarding, there’s a vibrant art scene, great food, and just generally a good culture. I think we reflect that laid-back culture in our company.

What led you to visual effects?
I spent a summer in Singapore when I was in middle school. My dad was teaching there for a semester, and I wanted to make characters for a game. Someone online had posted a tutorial using the Rhino3D beta, so I spent a lot of that summer in the computer lab learning how to create game assets. Once I got back I continued pursuing it. I was really inspired by the MechWarrior 2 opening cinematic and wanted to make my own but the final cherry on top was when I saw the Star Wars special editions, which I know are much loathed, but the shot where the new CG X-wings fly past Yavin and you see the pilots’ heads looking around—that was it, I was hooked, I just knew that that was what I was going to do.

What is the biggest challenge in running a studio today?
The biggest challenge is that timelines are getting shorter, expectations are getting larger, and budgets are shrinking as advertising moves away from TV. We’re facing pressure on all 3 sides of the fast/good/cheap triangle. Where on a TV-spot, companies will have pretty reasonable budgets and longer timelines, now the focus seems to be on cranking out something for social media by the end of the week. That’s where Shotgun and other tools like it come into play. We have to keep finding ways to work more efficiently so that the quality of our product doesn’t suffer. We’re constantly working to find ways to bring film caliber VFX to YouTube or Vine budgets.

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Introducing Shotgun Street Smarts

Last year, we brought you Two Guys and a Toolkit which was a popular series with a lot of our pipeline friends out there. That really inspired us to put something together for our production-minded audience. So, the Street Team came together to bring you our latest series: Shotgun Street Smarts.

Any of you who have written into have come across a member of the Street Team. We’re industry veterans, having worked in VFX, Games, TV, and Commercials as coordinators, production managers, producers, and pipeline engineers.

In this series, we’re going to take you through where to begin if you’re new to Shotgun and how to build your first Shotgun project from the ground up. We’ll also give you ideas on streamlining your current Shotgun workflow, show you how to use new features to make your workflows even more awesome, and talk to Clients who have gone through some of these steps to share their experiences.

Look out for new posts in the Series coming every two weeks! And if you are currently a client and want to let us know what Shotgun awesomeness you’ve set up at your studio, shoot us a message at

About Tram:
Tram joined the Street Team last March and makes sure that we are looking after our amazing clients in the beautiful Los Angeles area. She comes to us with VFX experience across multiple departments, from Senior Producer to Systems, with a dash of hands on pipeline experience for good measure. From Features to Commercials, from Mom-n-Pop shops to some of the old Big 5’s, she knows firsthand what it’s like to deliver projects with a scrappy team or a fully-staffed studio. Despite having worked in entertainment, she can not recite a single line from any movie, commercial, or even P90X (after 8 months of the same 12 videos over and over...) so don't even ask!

We're Coming to Siggraph!

We're only a few weeks away and getting ready for another big week at Siggraph. Come by booth 337 to hang out with the Shotgun gang and see our latest developments in review, production tracking, and pipeline tools.

Here's a round-up of everything we have planned this year:

Demos at the Booth
We'll be showing Shotgun's review toolset and integrations with tools like Maya and Nuke all week at the booth. Come by anytime to see Shotgun in action at one our demo pods, and make sure to attend live demos happening every day:

Overview of Shotgun - July 26, 1:30-2pm & July 27-28, 10:30-11am
Shotgun Review - July 26, 2-2:30pm & July 27-28, 11-11:30am

Future of Production Panel Discussion
July 26, 1-2pm
Room 207D
Our own Phil Peterson will be moderating a panel on the impact of the cloud on production. Don along with our friends Jesse Lucas from Framestore, Gregory Liegey from Mammal Studios, and Marcos Fajardo, founder of the Arnold renderer, will discuss the opportunities, challenges and risks cloud computing, big data, and analytics present to the VFX industry.

Annual Pipeline Awards
The Pipeline Awards are back for a 3rd year running! This year, we're hosting them at our booth on July 26, 5-6pm. Come by for a beer on us to toast this year's winners for excellence in pipeline tool development and outstanding contributions to the industry.

Accelerating Nuke & VR Workflows with Shotgun
July 27, 11:30am-12pm
Room 207D 
Don will be joined on stage by Jon Wadelton, CTO at The Foundry, to talk about how we're partnering to support clients taking on new challenges like VR.

It wouldn't be Siggraph for us if we weren't hosting a party! This year's soiree will be on Wednesday, July 27. More details to come, but make sure to save the date.

You can find more info on our presence at Siggraph here.


Meet the Studio: DHX Media
We recently got the chance to visit DHX Media's 3D animation arm in Vancouver which creates and distributes top TV shows for kids, including Slugterra, Kate & Mim-Mim, and The Deep. We spoke with everyone from the VP of Technology, to one of their CG Supervisors, a Pipeline Engineer, and even HR to learn about what makes the studio tick, the challenges in creating episodic TV, and how they're using Shotgun to review and keep projects on track.

Art + Passion
We take a first look inside DHX Media - the people, the way they work, and their mission to create the best kids programming available. The team shares what they look for in artists joining the studio, and how passion is at the heart of production.


Connecting the Team
The studio talks fast turnaround times in episodic TV, and why constant communication between teams is more crucial than ever as they grow.


The Inflection Point
The team reflects on how their workflow has changed over the years, and how Shotgun has helped tie everyone at the studio together, streamline the review process, and keep everything on track.


For more information about DHX Media, visit


Shotgun + Houdini

Our Pipeline Toolkit includes out-of-the-box integration with Houdini with tools like the Shotgun Panel, loaders, publishers, and more. Check it out:

Learn more about the Shotgun Engine and Apps for Houdini.
Learn more about Shotgun's Pipeline Toolkit.


Call for Entries: 3rd Annual Pipeline Awards

For the third year in a row, we're bringing back the Pipeline Awards! What are the Pipeline Awards? They're our way of recognizing the creative geniuses far behind the screen - the heroes who make laborious processes better and faster for studios of all sizes, regardless of if they use Shotgun or not.

Nominate cools tools & pipeline heroes  
If you know about tools, integration projects or people we should consider for a Pipeline Award - either yourself, someone in your studio, or any tool you've come across that impressed you - let us know. Email your nomination to by June 20. Just send us a note indicating whether you're nominating a tool or person with a brief description of the tool or write-up of what the person has done that demonstrates their Pipeline Hero-ness.

The Framestore Pipeline Team accepting a Hero Award last year

What we're looking for
Pipeline Shotty Awards recognize excellence in pipeline tool development, integration, engineering and usage (whether or not it involves Shotgun). Maybe you have a super-visual animation pose library right inside Maya, or a tool developed to facilitate VR, track the business-side of things for ROI purposes, or streamline review, or just a super cool hack! Pipeline Hero Awards recognize individuals who regularly share best practices on the dev list or forums, or have developed tools that have been widely adopted by the industry. Check out the 2015 Pipeline Award Recipients.

We'll present the Awards at SIGGRAPH again this year (details to come), toast them at our annual SIGGRAPH party, and announce them right here on the blog.

Looking forward to your submissions!
The Shotgunners


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