Creative Market- New 3d Marketplace
Our friends over at Creative Market are starting up a new 3D marketplace that gives artists a way to display and sell their assets to supplement their income. As the industry evolves and artists look for multiple ways to make a living, we welcome this new option and want to do all we can to support the Creative Market team.

They’re currently looking for artists to help test out this new service and we thought maybe you or others on your team would be interested in helping them out.

Learn more about the Creative Market on their website here:

If you have any questions, comments, suggestions, you can find that team here:

Available Now - Shotgun 6.1
Shotgun is committed to protecting our clients’ sites, accounts, and above all else, content. With an eye toward the future, Shotgun 6.1 is a maintenance-focused release that helps lay the groundwork for larger, more prominent security features.

As part of this, a few smaller security details needed to be addressed, and this also provided an opportunity for us to improve the workflow for creating new Users and managing access in Shotgun. In addition, we started work on the first of these new security features - two-factor authentication, which is in beta now.

New for Everyone

Here's a quick run-through of what's new in Shotgun 6.1:

New Login Screen - This is the first thing you'll notice, so it's the lead item here. We've reworked the look and feel of our login screen (it's bluer!) and we hope you like it!

Forgot Login or Password? - Have you ever forgotten your password or had someone in your studio forget his/her password? We've all been there. With Shotgun 6.1, Users can reset this themselves, meaning Admins no longer need to do it for them.

Welcome Emails - Keeping with the security theme, Shotgun no longer emails temporary passwords as text. Instead, when new Users are created, they will receive an email from the site with a link. Clicking the link will then guide the User through creating a password to gain entry to the site.

Read the full Shotgun 6.1 release notes here.

Two-Factor Authentication

As mentioned above, our two-factor authentication support is now in beta. We feel strongly that finding the right balance between enabling the additional security, providing the right level of control for Admins, and ensuring a comfortable experience for Users is critical to this feature, and we have a bit of work to do still. In the meantime, we'd love to talk about how two-factor authentication should work in Shotgun to meet your needs. There's a shotgun-dev list thread to catch up on what other clients are saying, and if you’re interested in trying it out on your site, please get in touch via
See You at Siggraph!

We’re weeks away and getting ready to show you a whole lotta new at Siggraph 2015. Visit us at booth #317 to see the latest developments in review & approval, production tracking, asset management, and pipeline tools – or just to catch up. Our friends from RV will be there too, and guest presenters throughout the week.

User Group & Pipeline Awards

Join us for the annual ‘Shotgun client board meeting’ on Tuesday, August 11 in room 408A at 10:00am. We’ll have a jam-packed session where we'll unveil the latest updates, tools and features. Don will kick things off to share our big picture focus and roadmap. The Product team will demo the newest Shotgun and RV features, discuss what's coming next and have an open discussion ranging from deep tech talk to feature requests and suggestions. Then we'll wrap things up with the 2nd Annual Pipeline Awards where we’ll recognize the best in pipeline/tool development!


Of course it wouldn’t be Siggraph for us if we didn’t host a party, right? This year’s Shotgun soiree to celebrate with our clients will be on Wednesday August 12. More details to come, but save the date for us!

Digital Production Symposium

We’re once again sponsoring this awesome co-located event on Saturday, August 8, at Beaudry Theater, Los Angeles Center Studios. Join us here to take in sessions by DreamWorks Animation, Pixar, Weta, ILM and more, and share knowledge with colleagues.

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

Shotgun RV Custom Shader Developed by The Mill to Simplify 360-Degree and VR Review
Shotgun RV Custom Shader Helps Simplify 360-Degree and VR Review
New Shader Available in RV v6.2 to Benefit all RV Users

To accelerate the unique pipeline on “HELP” – the recent 360-degree Google Spotlight Story directed by Justin Lin – The Mill developed a custom VR Shader within the RV image and sequence player enabling filmmakers to review scenes for 360-degree and virtual reality projects. The VR Shader, dubbed the LatLong Viewer, is now also available to all Shotgun RV users with the version 6.2 release, playing back all image formats supported by RV regardless if the image was stitched together from multiple cameras or rendered in CG.

“HELP” presented unique challenges for The Mill, from acquisition through final delivery. To capture the project, The Mill built a custom 360-degree camera rig comprised of four Red Epic cameras with 180-degree fish eye lenses, and developed proprietary software to stitch together footage from each camera into a continuous 360-degree view as an on-set tool. However review and approval of those 360-degree scenes, which were 90 percent CG, posed a workflow bottleneck. Longtime RV users, the team elected to build a custom shader within the flexible RV framework as a solution for playing back the 360-degree content.

The problem was we could review images of the 360-degree environment but not video content,” explained senior R&D executive James Studdart. “We weighed our options and could have either written our own custom software from scratch, or created a solution right there within RV. RV was the clear choice – it is flexible enough to support non-standard workflows, it’s already part of our pipeline so everyone would have easy access to the VR Shader and could add notes, and we’d be able to work within the full gamut of files that RV supports.”

The VR Shader proved to be a key advantage for The Mill in working out the review aspect of this, and future immersive projects, as RV is already in use across their facilities in Los Angeles, Chicago, New York and London. The technical challenges of working on non-standard projects like virtual reality and 360-degree filmmaking are forcing studios to restructure their pipelines accordingly, but with the flexibility of RV, support for emerging workflows is a straightforward solution within a familiar off-the-shelf tool. The Mill plans to continue using the VR Shader on future projects, and now that the technology is available as LatLong Viewer in the latest version of Shotgun RV, other studios will be able to as well.

“RV provided the easiest solution to this problem, and also gave us the best bang for our buck,” concluded Studdart. “That level of flexibility is very important as these projects become more commonplace.”
Get to know... Bartlet Jones Supernatural Detective Agency
We recently had the opportunity to chat with Nick Kononelos, co-owner of The Bartlet Jones Supernatural Detective Agency, a boutique game development company and paranormal activity investigation firm in San Diego, California. The young company is currently hard at work developing upcoming free-to-play multiplayer game Drawn to Death for the PS4. We discussed how Shotgun helps the Bartlet Jones team track more and more assets as the game takes shape.

Tell us about your company and the type of projects you work on.
Bartlet Jones is a pretty new company; we launched about a year and a half ago and are working on this new game Drawn to Death. The game takes place in the notebook of a highly imaginative high school student – essentially anything he draws comes to life and is usable in the game, from characters to weapons and other assets. It’s a competitive multiplayer game so players are controlling these unique characters and fighting each other.

Where is the company based? How many people there are using Shotgun (are they artists? Producers? Supervisors?)
We are based in downtown San Diego with 20 people in-house and a few regulars offsite. We also work with some outsourced teams around the world. Our Shotgun use varies but about half of all employees use Shotgun, mainly the artists but a mix of other production roles too. The heaviest use is tracking versions and schedule dates on tasks – artists and the outsourced teams post new versions and upcoming target dates, and I use that info for overall production management. I’m also using Shotgun to track the inventory for the game – the different weapons and characters and levels and props, and details like what character has what gameplay attributes.

How did you first hear about Shotgun? 
I first received the demo for Shotgun when I was at Technicolor but officially started using it at Sony San Diego (SCEA). There it was mostly used for cinematic game development which is closer to a traditional VFX pipeline. The studio also has motion capture stages and it was used to track that data as well as art production.

What content creation tools do you use in-house?
We use Unity game engine and our main applications are Visual Studio, Maya and Photoshop.

How is Shotgun essential for your current project, Drawn to Death?
Right now it’s paying dividends for keeping track of the inventory of everything that’s in the game – there are hundreds of assets and content pieces so Shotgun is really valuable for that. As far as the artist versions, it’s indispensible there too – there are always meetings where we ask where a certain version was a year ago or something like that and we can pull it up quickly. The team still very much likes to analog see the final versions of say concepts on a board, but the history of all the versions it took to get there has been super helpful in Shotgun.

What are your favorite features of Shotgun and how do you primarily use them?
Being able to customize it and create new linking relationships and add new columns is great. For all the various use cases we have across the external and internal teams, being able to customize their view has been really helpful since everyone has totally different needs. So the flexibility there has been really great, that’s a really positive feature.

Do you develop any proprietary tools?
Just now are we starting to consider tools as we move into planning for our release. Up until then there was a lot of interaction and necessary fundamental changes. Right now we leverage off the shelf tools as much as we can.

What’s a typical day like for you?
We do a daily meeting to check in and get everyone on the same page progress-wise. For me the beginning of day is dedicated to keeping everyone rolling on the most valuable items. At the end of the day I make sure everything is updated, take stock of how the day went, and prep for the next day. At a weekly interval we layout what the next week’s goals are and also do a monthly horizon view plan update. I look at my job like curling – the team is the puck and I’m just trying to keep brushing so that puck hits the target. Also, trying to keep the team out of any trouble of any kind… and that’s full-time work!

Why has your company been successful?
Well, we haven’t released a product yet but I’ll count us staying in business for two years a current success! It’s due to our great team – the team adapts and self-corrects very well, and we have a lot of our department, knowledge and experience bases covered especially for a start-up company. The patience from the team is also quite legendary as we navigated a very exploratory and long prototyping phase. That phase is still ongoing even as we moved into full production.

How much effort do you focus on building out your pipeline?
Out of the 22 people in-house I am the only person admin-ing Shotgun – it’s mostly a self-imposed resource constraint on our side. So I do try to stay engaged with Shotgun as much as I can. The challenge is that we’re working on a new IP so it doesn’t know what it wants to be as you’re going along and then a month later you think “oh that’s what we should have been doing.” So hindsight is everything. It’s hard to build a pipeline when it’s like a Ouija board that hasn’t given us the full message yet. We do what we can and are starting to make pipeline and optimization a primary focus as the game needs steady and high quality content to sustain the audience.

How do you do to stay connected to the larger community of artists and game developers?
Most of the team is always studying what’s out there on the Internet through streams, videos, blogs and message boards. San Diego is a small town so it’s probably about 1.5 degrees of separation from any developer or artist. 

What is your favorite thing about working in San Diego?
The weather! And San Diego in general just feels like a cool place. I was in L.A. for nine years before and am originally from Chicago. A friend that’s in town that has lived in various countries said to me, “San Diego just feels like home”. I agree with that. It’s a smallish city with pockets of concentrated neighborhoods, and I like that there’s a lot of diversity in those different pockets.

When you aren’t working, what’s the ideal way to spend your day?
I have two-year-old twin daughters so they take up all my free time! Balboa Park is a fantastic place with lots to explore so I’m usually there a high percentage of the time.

What led you into this field?
I saw Akira as a kid and I saw Siskel and Ebert cover it at the end of their TV show review and they were talking about it seriously and not just as a cartoon – that was the first time I thought about doing anything entertainment based as a career. So that’s what set me down this path and as I kept going I found that I really love making interactive content – it combines a lot of disciplines. Games are basically the epitome of that to me and they are only getting more diverse.

What do you think is the biggest challenge in running a studio today?
Keeping everything balanced and determining what to invest your time in. We’re a small team and our budget is moderate (or small when you compare it to many other published games) – when it comes to investing in quality, tools, new content or a focus test, where do you decide to invest your time and money when it’s limited and you’re trying to meet your release date? Trying to make the most of the entire day – that’s one reason why we outsource, so that there’s someone working on the game at all times over the 24-hour day. Also, our game is free-to-play and the bar for that is so gray – do you invest more time in the characters and make many of them and put all the effort into the gameplay and/or visual effects, or invest more time in the community management? It’s not clear what will be the most fun for players till they actually get to play a releasable version.

What inspires you?
Really anything that comes out inspires me because I know how difficult it is just to get something released. It’s a fight to release anything good, as these things just don’t want to come out. Seeing friends and colleagues achieve success and live their dreams has been very inspiring and motivating as well.
Announcing cineSync 3.6- Now with Shotgun Review Integration
Hi, this is Rory McGregor from Cospective, the team behind cineSync. Today, we're rolling out cineSync 3.6 - and the big feature is our integration with Shotgun.

We announced an OSX beta version of the integration at NAB 2015, but today sees the full release of both the OSX and Windows versions.

The Shotgun integration consists of a Shotgun Review portal built into cineSync. Users can launch Shotgun Review directly from cineSync, and then browse their Shotgun instance to identify clips for review. Versions and Playlists can be added from Shotgun to cineSync sessions with a single click. Any files stored in Shotgun will be automatically downloaded, while local files will be added as usual.

During the review session, cineSync users can use the built-in Shotgun Review to browse for alternate or previous Versions; to view all previous notes on Versions; and to add new Versions for review at any time, all without having to ever leave cineSync.

Once the review has been completed, cineSync users can publish any notes and drawings to Shotgun. Additionally, users can merge cineSync data with existing Shotgun data – so in cases where annotated frames have been created in cineSync, but notes have been taken in Shotgun’s Notes App, users can simply choose to combine the two.

If you already have a cineSync Pro account, you can start using the integration with Shotgun today. If you don't have a cineSync Pro account yet, but you want to see what all the fuss is about, you can contact us at and we'll help get you set up with a free trial. For more info, check out

We'll also be presenting on Shotgun's booth at Siggraph LA next month, so we'd love to see you there!
Street Team : Now with more Team!
Hi. We thought it would be good to get back out in front of all of you now that we've been growing our support presence. For those of you who don't know, the Street Team consists of people who are on the other end of your support tickets, feature requests, and other things you reach out to us for at or from the support site, We're a mixed bag of seasoned production pros who were formerly Producers, Coordinators, Artists, and Pipeline TDs who now totally dig working with the best clients in the world, helping solve the world's hardest production challenges.

I'm Matt Welker, I'm based in the Bay Area, and I help keep things moving forward with the best production team around, the Street Team. When I'm not thinking about how to help the Street Team help you, I'm playing hillbilly guitar, making coffee by the gram, or listening to some new-fangled HiFi music. Now, on to the really important people here:

Patrick Boucher - Montreal, QC, Canada
Patrick is a technical support engineer on the Street Team and joined the company almost 3 years ago - but not before writing the Shotgun Event Daemon when he was a pipeline engineer in production. He is also the support team’s resident French speaker so should you have a tricky support query "en Français", fire away, Pat’s your guy - just steer clear of Saturday Night Live references.

Brandon Foster - Washington DC
Brandon brings a blend of production and technical experience to the Street Team. Having served in production roles in VFX and feature animation, and as a technical artist in game production, he has first hand experience in the many different challenges that those roles face. His passion for games makes him a great resource for Shotgun’s growing number of game clients. When called upon, Brandon will lay down a steady beat on the drum set for the Shotgun band, or recite some nerdcore rap lyrics, depending on the situation.
Astrid Scholte - Melbourne, AU
Astrid is a product support specialist who brings a wealth of experience from having worked both as a VFX artist and on the Production side. She has two cats—one of which is perpetually climbing on her keyboard to try and answer her tickets. If you receive any strange replies, apologies—​it was the cat!

Kevin Porterfield - Chicago, IL
KP is the support engineer for Toolkit and joined Shotgun in the early days – way back in January, 2008. He has been a member of several teams and has been involved in writing code, doing support, and engaging our awesome community. All the while he’s been searching for the perfect chocolate chip cookie (which he happily hasn’t found yet, so the search can continue).

Neil Grey - Vancouver, BC
Neil spends his waking hours slinging code for awesome clients as a technical support engineer alongside the Street Team.  He comes to Shotgun from a background in Pipeline Engineering in Visual Effects and Animation.  Now on a mission to help make the lives of production people easier across the industry, he likes getting into the thick of it with clients, chatting directly with internal support teams and learning how Shotgun helps each studio reach their maximum potential.

Tram Le-Jones - Los Angeles, CA
Tram is our newest Street Team member 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 - mostly production, but with a dash of systems and pipeline 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 3 months of the same 7 videos over and over...) so don't even ask!

Mason Jarratt - Wellington, NZ
Born in New Zealand, then relocated to London for some high-profile production management work, then re-relocated back to NZ, Mason is a mix of EU civility and Kiwi audacity. At home in both hipster coffee shops (don't let him make the java, though!) and survival camping with nothing but a knife and a loin cloth, Mason can hack through the biggest production management issues with ease, and kill and dress a wild stag - all before lunch time! Mason is the proud father of Brannagh, and enjoys baby swimming lessons.

Tommy Kiser - Portland, OR
Tommy has been very active working with clients and on the Shotgun Webinar Circuit for new users, so you may have been influenced by his distinct brand of Shotgun-fu. Before joining Shotgun three years ago, Tommy worked as a production manager on animated feature films (both CG and stop-motion), and was an avid Shotgun user and administrator on the client side. While originally from Texas, he now lives with his wife Jodi and canine son Baxter in Portland, Oregon, where his love of craft beer and beard cultivation can truly flourish.

Shayna Cohen - Denver, CO

Shayna has been with Shotgun for three years and has worn several hats at the company - from Toolkit Support, to Producing on the DevOps Team, and now with the Street Team. Previous to Shotgun, Shayna worked in production management for American Zoetrope, Disney (Image Movers Digital), and Industrial Light & Magic - all in the Bay Area. At Image Movers Digital, she used Shotgun every day to manage and steer teams. Now living in Colorado, Shayna enjoys helping studios around the globe and couldn't be more excited to support Clients, and help them have a successful story using Shotgun.

Andrew Lawrence- London, UK
Having worked in VFX editorial & production departments, Andrew is keen to help fellow creatives build the best pipelines around and is on-call to help out! You can often find him on the streets of London, bouncing from studio-to-studio ensuring each and every customer is pleased as punch. Got an idea for your pipeline? Andrew is more than willing to jump onboard and help make that idea a reality, but watch out, his homemade apple crumble is a force to be reckoned with!
Introducing the Shotgun Pipeline Team

The idea for Shotgun started more than ten years ago by a group of us working on a pipeline for an animated feature project. We saw how transformative a great pipeline could be for a studio, both creatively and operationally, and began to wonder if we could help provide that power to everyone.

Small studios should be able to do amazing things without having to build custom software and larger studios should be able to focus on developing new functionality on top of the pipeline versus the pipeline itself.

The industry has changed quite a bit in the last ten years, and we believe, now more than ever, that some very exciting innovations in the coming years will be related to pipeline. In an effort to up our game, we’re creating a new “Pipeline Team” here at Shotgun with these three goals:

1. Partner with studios

Many of our clients, big and small, are asking us to partner with them to tackle new challenges in their business. Starting a VR unit? Opening a second location? Looking to fine tune the review pipeline? Ramp up a development team? Or maybe just do a quick health check and brainstorm about the future? Our goal is to be a trusted partner to our clients, and to build out the tools and expertise to address your needs more efficiently than adding resources to do it yourself.

2. Contribute to the community

We are proud to be a part of the Shotgun community and plan to give back. This team will actively post observations about patterns or best practices as well as publishing tools built along the way for the rest of the community to use.

3. Strengthen our product development teams

Our software teams get loads of feedback from our clients every day, but we want to take that connection one step further by closely linking this pipeline team working out in the “field” with the teams here at Shotgun. We can drive innovation in our product better when working on real-world scenarios with a partner.

Join us!

We’re looking to hire an A-list pipeline team with years of experience in the industry. If you love working in production, love building tools for artists, and love helping the industry move forward on pipeline issues, then we’d love to talk. We’re hiring four engineers to start who will join Isaac Reuben, our founding CTO, along with Tommy Kiser, one of our original Street Teamers, and Kate Lowell, who you haven’t met yet but is awesome (my good friend Darin Grant is also helping us get started). This is happening now, so if you’re interested in joining the team, you can read more and apply on our jobs page.

If you have a project you think is a good fit for our pipeline team, drop our team a line to discuss.

We’re excited about what will be coming out of this team and will share those innovations back with you in future posts and in the product itself.

Thunderbirds Are Go
Check out what Milk VFX had to say in CGW about staying on track and in sync with Shotgun.

Read the full article and learn more about their latest project, 'Thunderbirds Are Go' an animated episodic reboot of the 1960’s cult hit “Thunderbirds” series here.

Call for Entries: 2nd Annual Pipeline Awards

Last year we introduced the Pipeline Awards to recognize those far behind the screen; the heroes who mix creative genius with a clear grasp of how to make laborious processes better/faster/happier for humans, and help studios thrive within new business models.

We were blown away by the quality and variety of submissions we got, and it was awesome to be able to hand out trophies that folks could bring back to their studios to spread some pipeline pride. We aim to keep highlighting this innovative work for the whole industry to see, and we’re excited to bring the Awards back this year!

Nominate cool 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 anyone/any tool you’ve come across that impressed you – let us know. Email your nominations to by July 6. Just send us a note indicating whether you’re nominating a tool or person (hero), and either a description of the tool or a brief writeup of what the person has done that demonstrates Pipeline Hero-ness. Everyone who submits will receive a Shotgun t-shirt.

What we’re looking for

Pipeline Shotty Awards recognize excellence in pipeline tool development, integration, engineering and usage (whether or not it involves or uses Shotgun). Maybe you have a tool that lets storyboard artists use Unity to set a camera then push out the image to a storyboard panel. Or a mobile app that lets artists know when it’s time to head to the screening room. Or a super-visual animation pose library right inside Maya that the animators loved. A tool developed to facilitate VR or mocap, to help track business-side info for ROI purposes, or streamline review. Or just a super cool hack. Pipeline Hero Awards recognize those who regularly share best practices on the dev list or forums, or who have developed tools that have been adopted widely across the Shotgun community.

We’ll present the Awards at SIGGRAPH, during the Shotgun User Group (Tuesday, Aug. 12, details to come), and toast them at our annual SIGGRAPH party. We’ll also announce them here, so you don’t have to be at SIGGRAPH to check them out.

Looking forward to your submissions!
The Shotgunners
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