Shotgun 6 & RV 6: Unveiling at NAB!
We're here at NAB in Las Vegas today, and excited to unveil Shotgun 6 and RV 6! We'll be showing what's new all week at the Autodesk booth #SL-3317, so if you’re here, come by and see them both in action. If not, Shotgun 6 will roll out to all Shotgun users by the end of this month, and RV 6 in the same timeframe. What’s super exciting is that with Shotgun 6 and RV 6, RV is included at no cost for all Shotgun subscribers and we’ve made setup easier than ever before.

Shotgun 6 is full of new features and integrations to boost production efficiency and integration with the tools you use every day.

The big news: RV is included in Shotgun, and the workflow is super simple

With Shotgun 6, subscribers can download, activate, and connect RV 6 with their Shotgun account within minutes - without the need for any manual configuration. We've also unified the Shotgun menu, added support for multiple site connections for those working with more than one vendor, and added RVIO support when submitting a version from the RV Submit Tool.



Even more in RV 6

RV 6 also includes features previously only available in RVX, such as the ability to author image-processing operations; everything from simple color transforms to multi-input compositions and editorial transitions.

More Shotgun 6 Goodness

New Project Templates -- Manage different workflows for different projects such as films, episodic TV series or games. You can create your own templates then use them to create new projects in a consistent way.



Enhanced Navigation and Browsing -- Navigating between items you track in Shotgun just got easier, with a new navigation widget and interface.

Customizable Hierarchy -- Choose how you want to navigate items you're tracking based on their relationships; Shots by Sequence in your film projects, or Shots by Sequence and Episode on your episodic TV projects, for example.


Improved Flame Integration -- With optimized Flame export, you can run your Shotgun updates in the background and generate both high resolution and web resolution media, so you can get higher quality exports out for review faster. Learn more here.

Updated Loader -- Artists can now find and load files faster directly from inside of their creative tools, such as Maya, 3ds Max and Nuke, using the new list view in the Toolkit Loader app.



If you’re in Sin City this week, come by and check out all of the new stuff!
And be sure to stay tuned for more info coming with the official release later this month.
Cheers,
The Shotgunners
cineSync Brings Out The Big Guns
Hi, this is Rory McGregor from Cospective, the team behind cineSync. We've been working with the team at Shotgun Software for some years now and building some cool integrations between our products.

At NAB 2015 we'll be revealing a brand new integration between cineSync and Shotgun and I wanted to give you a sneak peak.



Unlike previous integrations that required a separate install, this new integration comes bundled with cineSync Pro and it's way more powerful than anything we've done before. It's all been based on comprehensive feedback from both cineSync and Shotgun users and it'll change the way you use both tools. So - what does it do?

The new integration allows you to browse Shotgun right from within cineSync. We've added a new dedicated Shotgun menu that will let you launch a Shotgun Review window that's completely controlled by cineSync. You can browse any available Projects and select any Playlists or Versions for review - then it's just a simple matter of clicking "Add to Session" and your files will automatically be added to cineSync.

During the cineSync review, you can use the inbuilt Shotgun Review pane to browse for alternate or previous Versions, to view all previous notes on Versions and to add new Versions for review at any time, without having to leave cineSync.

We've also upgraded the notes tool in cineSync, with thumbnails updated live and notes created on the fly, making note taking quick and easy.


Once the review has been completed, things start to get really exciting.

Previously, one of the regular pain points for co-ordinators has been ensuring all the information in a cineSync review is accurately transferred into Shotgun. Previous integrations have solved some of the problems, but didn't handle the case where notes had been taken in Shotgun's Notes App, while drawings were made in cineSync. That issue is now comprehensively solved!

At the end of the review, you can now select "Preview and Publish Notes". This will bring up a preview pane, showing you all the notes that have been made and all the associated marked-up frames. If everything is as it should be, then you can hit publish. However, you can also choose to either edit your notes, remove any redundant frames, or you can choose to merge notes with any other notes taken separately in Shotgun. Any merged notes will show up in the preview live, so you can see what's going to happen before you publish.

So now, all your cineSync data will end up in Shotgun, in exactly the place you need it to be.

We'll be showing the new integration at NAB 2015 alongside the Shotgun team on the Autodesk booth (SL3317). We have some specific slots for presentations at the following times:

Monday - 3:00pm to 4:00pm

Tuesday - 10:00am to 11:00am

Wednesday - 11:00pm to 12:00pm and 3:00pm to 4:00pm

I'll be there, along with our Head of Engineering Neil Wilson, so we can answer any questions you have.

Initially the integration will be offered as a private beta, with a full rollout expected in the weeks following NAB. If you're interested in signing up for the beta, please feel free to email us at cinesync@cospective.com.

We're looking forward to seeing you at the show!
Shotgun at NAB!
We’re a couple weeks away and getting ready to show you a bunch of new things at NAB 2015. Visit us at the Autodesk booth SL-3317 to see our latest developments in production tracking, review, and asset management/pipeline tools. We’ll be highlighting Shotgun and RV integration, optimized Flame integration – and a few surprises that we’ll unveil at the show ::wink::


Here’s where you can find us:

- In the Autodesk booth SL-3317: Throughout the week we’ll be showing Shotgun overviews and Shotgun/Autodesk creative suite integrations, and cheering on Shotgun clients who will be giving presentations.

- Speaking: Rendering in the Cloud – Wednesday April 15, 2:00, S219 bit.ly/1xjX5Gt

- In the AJA booth – SL2505 : We'll be showing RV in the AJA developer partner area all week.

Be sure to come by and say hi to the Shotgun and RV crew!
Get to Know... Snowgum Films
We recently had the opportunity to speak with Ahren Morris, producer for indie film group Snowgum Films based in Melbourne, Australia. Snowgum produces corporate videos, commercials and music video projects and most recently started working on Troll Bridge, an adaptation of the Terry Pratchett story of the same name.

John Jenkins- Carvetemple, commander of the Black Army & members of the various Australian re-enactment community

Tell us about Snowgum and the type of projects you work on.
Snowgum is a true indie outfit. When I joined it was pretty much a group of people who got together on weekends and shot crazy short films involving unusual situations and lots of fake blood. We were moderately successful at some of this, but Snowgum was formed to tell the stories we wanted to make.

That’s why we decided to make Troll Bridge. Its theatrical cut is a 30-minute blend of live action photography, digital characters and a digital set. We shot plates on the Southern Alps of New Zealand, in a studio in Melbourne and a dried up lake bed in as close to nowhere as we could get. It’s a mostly crowd-funded project and we usually describe it as ‘epic’.

The Troll Bridge Crew at the end of production

Is your team working in multiple locations?
Our Troll Bridge volunteer post-production crew is one of the most distributed VFX teams in history. We are split across 17 countries and to my knowledge none of the approximately120 members share a work location with anyone else. Every discipline is represented from concept art through to color grading. Right now, this production pretty much lives and breathes on Shotgun. For Snowgum Films, Shotgun is the perfect blend of workflow management tooling and a collaborative, creative environment. Our artists enjoy working with it and anything they enjoy doing, means our content looks even better.

How did you first hear about Shotgun?
Some of the stars of Troll Bridge (left to right)
John Jenkins, Troy Larkin, Ruben Francis
I have to give credit to our VFX Supervisor Christian Bloch for this. We knew we were going to have data and management issues with post on Troll Bridge, but Christian was equally concerned about his artists having a collaborative environment to work in. He’d worked with it on a previous project and was impressed by the interaction and almost social nature of it. As our crew doesn’t get to see each other face to face, having a place online where they can see what everybody else is working on is incredibly motivating.

What tools do you use in-house?
A sewing machine, heat gun, Makita cordless, 2 meter step ladder, paint brushes (everything from ultra-fine to roller) every so often a scissor lift, but I don’t have a license for that, I just borrow a friend’s. In the digital field, aside from Shotgun, we use a lot of The Foundry software to make Troll Bridge. Our digital trolls are all done in Modo and we use Nuke for all our plate prep and comp work.

What are your favorite features of Shotgun and what do you primarily use it for?
I’ve described accessing the Overview as being like Christmas, every day. As a Producer, being able to regularly monitor as bits and pieces come in is extremely rewarding as I know that each version of each task brings the project that much closer to delivery.

The Shots page is a great way to take the temperature of where things are at, at a quick glance. We use a lot of color-coding on our task status, so a lot of green is obviously good. As a lot of our crew is volunteer our timelines are rather fluid, so I’ve not yet been able to get into Scheduling much, but the OCD part of me is hankering for the next project so as to map that functionality out in detail.

What makes Snowgum interesting?
Snowgum always tries to push just pass the edge of what should be achievable with our people and resources. It means the crew working with us are likely to have their boundaries stretched, but nobody ever seems to back down from that challenge. As they excel, so do we.

Actor Don Bridges who plays Cohen the Barbarian
What’s a day in the life for you like?
I wake up and check my phone for overnight emails or anything urgent. Then it’s off to my day job where I’ll log onto Shotgun when my boss isn’t looking, then giggle with glee for five minutes. Lunch break is a good time for a phone call to my Director Daniel Knight or an email to a department head. During the afternoon I’ll sneakily start making a list of things I need to do that night. Home from the day job, dinner and quality time with my very understanding wife, then it’s Shotgun on one screen and email on the other. A Producer’s job is not glamorous, it’s all about keeping the ball rolling, removing blocks and making sure that information is getting to where it needs to go. Our crews are in wildly different time zones so evening tends to be the best time to communicate. Rinse and repeat.

Director Daniel Knight (right) giving direction to 
cinematographer Tim Egan 

What are the three most important things in your office?
My phone, my workstation and my beer fridge.

How much effort do you focus on building out the pipeline?
My Director Daniel and I are practical filmmakers so coming over to the world of high end digital post was a huge jump for us. Getting the first pass of our pipeline up involved a lot of conversations with some very smart people, but it has been an iterative process. Several months ago we realized some aspects were misaligned. Shotgun gave us the flexibility to re-design our approval gates and workflow, without losing the existing data. Our artists (apart from some new mandatory fields) barely noticed the changes, but it gave the Production Team exactly what we needed.

Why is it important to pay such close attention to your pipeline?
The aspect of digital post that I’ve found most challenging is scale. The raw volume of things that need to be tracked and reviewed and made to work together is pretty eye opening. Life at Snowgum has always included a fair element of learning on the go, but when you’re dealing with hundreds of shots and thousands of tasks, keeping everything moving requires constant attention.

Left to right- Glenn van Oosterom (voice of Cohen's horse), Troy Larkin (Beryl the Troll),
Daniel Knight (Director), and Don Bridges (Cohen the Barbarian)

What inspires you?
Seeing people achieve things they didn’t think they could.

Art Director Dale Bamford
What is your favorite thing about working in your city?
Melbourne is easily recognized as Australia ‘arts capital’. There are people involved in out-there/experimental art and there are highly skilled professionals earning their coin creating stuff they love. It can be a crazy mixed up place sometimes and there is always something new out your front door if you’re ready to go look.

When you aren’t working, what’s the ideal way to spend a day in your city?
At a BBQ with my friends dreaming up Snowgum’s next big adventure.

What led you to visual effects?
As a filmmaker I feel VFX should be about taking something that started out looking pretty great and pushing it into awesome.

What is the biggest challenge in running a studio today?
The biggest challenge for Snowgum and Troll Bridge today actually stems from our recent past. The work delivered by our cast, production and post-production crews has exceeded our wildest expectations. Our task is now to see that carried through to delivery and a completed film they are as proud to see, as we have been in making.
Cohen's sword- designed and forged by Jonathan Lyons
Get to Know... FATface
We recently had the opportunity to speak with VFX Supervisor Alan Lam and Pipeline TD Daniel Wong of FATFace, a boutique VFX and animation studio based in Hong Kong. FATface works on both film and commercial projects and has earned a strong reputation in Hong Kong's competitive marketplace. We spoke to Alan and Daniel about how FATface is expanding and tackling larger more complex projects, and how leveraging Shotgun has helped support production in their studio.

Tell us about FATFace.
FATface is a VFX studio in Hong Kong. Over the past 10 years, we have created visual effects and animation content for TV commercials and film projects. Currently, we all work out of one studio in Hong Kong, but have plans to expand to multiple locations in the future. That’s why we started to use Shotgun this year to develop a proper pipeline. In the meantime, the whole team of more than 40 producers, supervisors, artists and coordinators are all using Shotgun.



Why has FATFace been so successful?
We are still trying our best to improve. It is very crucial that most of our colleagues are very self-motivated. They are willing to learn, willing to adapt to new systems and new working procedures. This allows us to evolve our workflow at a fast pace. Though they feel the slight pressure of imposed changes, most of them realize the benefits given to them, and are open to them.

What led you to visual effects?
Daniel : I enjoy playing video games. After getting a degree in multimedia, I worked at an animation company. I started my career as a lighting TD.

Alan: I was a programmer before. However, I got bored. I do enjoy watching movies. After I noticed that I could use my skills to have more fun in the VFX industry, I jumped in it immediately. After a dozen of years working as a CG artist, I still really enjoy it. Imagination truly has no boundaries and continues to inspire me as I work on future projects.

What's a day in the life of Alan like?
My day starts at 7:30am when my 2-year-old daughter (Hayley) gets up. I usually am woken up by sweet little noises coming from the nursery. I walk into her room and she’s always super happy first thing in the morning, which is totally adorable! I stay with her around an hour to play and read story books. I am out of my home by 9:30. 10:30 is coffee time, a steaming cup of freshly brewed coffee is certainly the best way to start my work. At 11am I usually attend a few dailies screenings of the current projects. I then share my comments with the project leaders. Around 2pm I enjoy my lunch with other colleagues. It is good to take a proper break, you will accomplish more in the long run. However, with a full stomach, I may feel sleepy after lunch. After lunch I'll spend a couple of hours to study the progress of each project and scribble down ideas to share with each department.

Due to the nature of the VFX industry, there's never really a fixed off-work time. On a good day it's a 8:30pm. Today, I am lucky.

Alan, what are the three most important things in your office?
To me, the three most important things in our office are the culture of knowledge sharing and accumulation, the responsible artists (everyone takes their tasks seriously, seniors take care to mentor junior staff), and the trust in our senior management and their commitment to invest patiently in our R and D efforts.

When you aren’t working, what’s the ideal way to spend a day in Hong Kong?
Watch movies and enjoy delicious food (you'll never be bored).

What inspires you?
Daniel : Users and supporters in internet forums inspire me the most. Everyone shares their experience and knowledge, and brainstorms ideas, which evolves into a lot of fabulous stuff. Colleagues from different backgrounds also have given me plenty of good suggestions.

Alan : What inspires me is simply when the ‘impossible becomes possible’. We are using technology to create visual art. During a tough project, we may think we have already hit our limitation. However, I believe there is always a way to hit our target. We only need to tackle a problem and never give up, no matter how challenging it is.

How did you first hear about Shotgun?
We initially built our own internal pipeline system. Due to the rapid growth of the team, we were looking into existing solutions to expand our pipeline. After exploring other solutions and collecting suggestions from our colleagues, we think Shotgun fit our needs.

Can you describe a recent project where using Shotgun was essential?
Alan : We just finished a complex project, "VIRTUS" in a limited time frame. Shotgun helped us to organize a large amount of assets and data which passed through the whole production team. With Shotgun in place, we can focus more on doing the art.

Daniel :The value of Shotgun is increasingly significant for projects that involve more than 10 artists. For example, we had two sequences to produce for a TV commercial, 90% of the elements were CG, and more than 15 artists contributed to asset and shot creation. With Shotgun, most of the information can be queried by everyone, which saved lots of resources on data lineup between departments, and avoided so much unnecessary bounce back due to communication errors.

What content creation tools do you use in-house?
Maya, Houdini, Arnold, DDO, Nuke, Mari, Zbrush

What tools do you use in-house?
Most of our in-house tools are scripts for data managing, such as renaming, file importing / exporting.

Do you develop proprietary tools, if so which one are you most proud of?
My colleagues always give me challenging tasks. I have developed a script for exporting/importing/attaching shaders, simple but critical for our post-production pipeline.

How much effort do you focus on building out the pipeline?
I contributed to our pipeline for about a year. I spend half of my office hours working on pipeline, and many more hours of leisure time reading related pipeline articles in magazines and forums.

Why is it important to pay such close attention to your pipeline?
Daniel : The pipeline is our everyday working environment. High performance of our pipeline system makes everyone work more efficiently. It helps ensure that a group of artists are progressing in the same direction. It minimizes human error and avoids communication mistakes. A solid pipeline helps us focus on “improving” instead of on “fixing”.

Alan : In order to keep growing to challenge some larger scale and higher quality projects, a good pipeline will give us the power to maximize our efficiency and accumulate the required knowledge to face bigger projects.

What are your favorite features of Shotgun and what do you primarily use it for?
Alan : Shotgun gives me a bridge to communicate with producers and artists. Shotgun shows the progress of projects clearly and centralizes all of the updates. I can review and leave comments and feedback, and make sure that it’s being communicated directly to the artists. It makes my day easier.

Daniel : My favorite features of Shotgun are the publishing and loading module of the pipeline toolkit. It is highly configurable, and adaptable to many common CG applications. Artists can load and share their work with a few clicks. Moreover, each publish can be revised on the Shotgun website, marked with a thumbnail and descriptions. Information can be tracked easily.


How do you do to stay connected to the artist community?
Daniel : Keep surfing in forums, give comments sometimes, meet other artists on social platforms.

Alan : Sharing is the best way to learn. Forum and internal sharing sessions.



What is the biggest challenge in running a studio today?
It is relatively hard to run a studio in Hong Kong. As everything is fast, you seldom have time to research and develop technology. Most of the studios here stay small in size, and can barely maintain the production standard. Luckily and hopefully, we're one of a few exceptions.

What is your favorite thing about working in Hong Kong?

Daniel : People here work at a fast pace. You'll be trained incredibly fast, too.

Alan : Hong Kong has lots of delicious food. You should come and join me to taste it all.

Shotgun Helps The Third Floor Manage Global Visualization Pipeline
The Third Floor, Inc. is a visualization studio that has been using Shotgun across virtual camera, previs and postvis pipelines. The company has facilities in Los Angeles, Montreal and London – plus production teams on location around the world –who contribute to major motion pictures, television shows, commercials, theme park rides, and games. The Third Floor worked on four of last year’s eight highest grossing films, including X-Men: Days of Future Past for which the company won a VES Award. Upcoming credits include Insurgent and Game of Thrones Season 5.

“We regularly use Shotgun to track asset builds and shots during previs, and throughout production and postvis,” explained The Third Floor production manager Charlotte Nelson. “We often start on projects in the early conceptual stage when there is not yet a tracking system in place for visual effects. So working from the project’s script, we build a shot list from the ground up in Shotgun. It’s very helpful to get a lay of the land and streamlines the way we distribute work among our previs artists.”


Previs is produced at The Third Floor’s offices and in the field as the teams collaborate alongside productions. In the postvis phase, artists from several locations may be working with previs assets as well as plates. “Shotgun is key because it’s one central location that lets us see up-to-date information on every shot and every asset,” Nelson continued. “Artists, supervisors, coordinators and project managers rely on Shotgun, using it in different ways to meet their needs – artists can update shot status and then supervisors can review. It’s great to have the simplicity of a central hub – it’s even helpful if you need to track down shots years down the line.”

On some projects, The Third Floor is using a virtual camera system that allows sequences to be blocked out while viewing previs within a video tap of the live scene. “Our virtual camera workflow captures a lot of information very quickly, and Shotgun lets us efficiently sort and track each shot so that we can transition into editing more rapidly,” said Nelson. “The sooner we can complete the previs, the sooner the director, DP and VFX supervisor can finalize what they need to move into production.”


As The Third Floor continues to pave the way for previs for Hollywood’s major tentpoles, having the flexibility and functionality of a system like Shotgun among its suite of tools helps ensure that the company can remain ahead of the game.

Shotgun Brings VFX Artists Together for Open-Movie Project “Galactic Battles”
For visual effects artists in Vancouver, pros of all backgrounds and experience levels flock to the VanCG Meetup group for fostering a unified and supportive community. The non-profit organization, led by founder Nick Romick, offers popular monthly educational events, networking, and community-driven collaborative projects to let artists experiment with new techniques and tools outside the office. One such collaborative project currently in progress is “Galactic Battles,” a sci-fi short film featuring both live action and CG that pits the ships from beloved sci-fi franchises against each other in an all-out battle royale.


One of the main challenges for Romick on “Galactic Battles” was establishing an efficient pipeline for artists coming from all different studios, and working on this project primarily from home. Romick ultimately chose Shotgun for all production management and review on the project, allowing him to significantly consolidate the existing infrastructure and give artists the flexibility of a web-based tool.

“Shotgun was the perfect choice for our pipeline because it is the industry standard – no matter how the pipelines are structured at the various VFX facilities here in Vancouver, everyone is familiar with Shotgun,” explained Romick, who works by day as an artist at Method Studios’ Vancouver facility. “Plus with the range of experience levels in the VanCG Meetup group, Shotgun made it easy for seasoned artists to join the project, and the exposure to such a widely-used tool is beneficial for junior artists or students working as they build their résumés.”

Since implementing Shotgun, productivity and clarity on shot status on “Galactic Battles” quickly increased. “With no central network, we were keeping track of shots and assets through a combination of Google Docs and the VanCG Meetup forum,” said Romick. “Shotgun is unparalleled for task management – having one central database and being able to see updates in real time has made everything so much smoother. Shotgun will give us a huge advantage as the project moves forward, and will hopefully entice even more artists to join the fun.”

Romick plans to have a final cut of “Galactic Battles” on YouTube later this year.
The New Annotation Text Tool: From Hackathon to Release
This past December the Shotgun crew participated in our yearly Hackathon. There were lots of great ideas - which you can check out here - but we liked one so much, we decided to carry it across the finish line and release it to all of you out there.

So, here's a little story about how Xin's annotation text tool Hackathon project made it to your Shotgun site as told by our newest Shotgunner - Ken Larue.

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All of Shotgun, plus RV, now for $30

We’re on a mission here to provide world-class pipeline tools to everyone on any production team, anywhere in the world. With that in mind I’m happy to share two great announcements.

RV will be included in Shotgun

Because a really effective review workflow is critical to getting in more iterations, we’re going to provide the RV native image and movie player to all clients this April as part of the Shotgun subscription. (We’ll release a new version of RV that works with Shotgun out of the box.) We decided not to ask studios to pay more for essential review tools that you need to be successful. In fact, that leads to our second announcement.

Shotgun is now $30

We’ve decided to adjust our pricing to make sure every studio can provide our tools to everyone on their teams. For $30/user/month, you now get all of Shotgun – production tracking, asset management, and review tools, and our “Awesome” support package. In April RV will be included. Shotgun with our “Super Awesome” support package is now $50, and in April will include RV + RVSDI for screening rooms.


As I mentioned when we brought RV into the Shotgun family just last month, while we are bringing RV native tools into Shotgun in an attempt to blow your minds, you don’t have to use Shotgun to get RV. We’ll continue to develop RV as a standalone tool with all the power and flexibility you’ve grown to love.


As always, we are dedicated to delivering the tools you deserve in production at the right price. We appreciate the close collaboration and support of the Shotgun and RV communities and look forward to working with you all this year.

Cheers,
Don and the Shotgunners

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Shotgun Provides Plug-and-Play Production Tracking and Review for Indie Stop Motion Short “Mermaids on Mars”
Athena Studios is an Emeryville, Calif-based full service production and animation studio. The studio has been creating films, video and multimedia projects for over 20 years, and is currently producing a stop-motion short called Mermaids on Mars. The short is based on a book by Nancy Guettier, directed by Jon V. Peters and features the work of artists whose credits include stop motion films Coraline, James and the Giant Peach and The Nightmare Before Christmas. 

Mermaids on Mars is a 20-minute film, comprised of 300 shots, many with complex compositing demands on a small team of visual effects artist with a post schedule of just over three months. Vince De Quattro is the project’s digital post-production supervisor, “When I came onto this project I set up a Google spreadsheet to manage production assets, but once we got to the review stage, it was nearly impossible to track all of the moving parts on this show and stay on top of the latest iteration of a take. Shotgun came to the rescue, and straight out of the box helped me, the artists, our director and compositors get on the same page.”

Mermaids on Mars is the story of a young boy named Julian who is magically transported to Mars where he tries to stop an evil martian from destroying the last of the planet’s mermaids. The entire story is being told piece by piece in painfully meticulous, hand-crafted, stop motion animation shot on Athena’s soundstage. From end-to-end, the short film is being shot, produced and finished on-site at Athena Studios and the Shotgun production management and review platform is being used for all post management and shot review.

“Shotgun helps the team do detailed reviews of several iterations of each shot and helps me retain complete control over the eleventh hour artistic process,” continued De Quattro. “Instead of relying on an editor, I can craft a playlist in Shotgun myself, and have anyone on the team access it from a cell phone or iPad remotely or on set—I can work at 2AM and anyone can get updates at anytime since everything’s online.”


Twenty minutes of film with an average of five comp iterations per shot, equates to approximately 300,000 frames processed to final, and with a small team under tight festival deadlines, Athena didn’t have the schedule or resources to develop a custom production tracking solution. “With Shotgun it was plug-and-play from the get go. Mermaids on Mars is a very small budget production and Shotgun is so inexpensive that even if you have a small show, you can benefit from the production management, review and tracking tools in Shotgun.”

In addition to producing Mermaids on Mars, Athena Studios regularly provides studio services, and provides animation, production and post for commercial clients. Athena also produces executive training videos for sister company Athena Online, and is implementing Shotgun to track that pipeline as well, from production through to transcoding and sound. For more information about Athena Studios, visit http://www.athenastudios.com and for more information about the film, visit https://www.facebook.com/mermaidsonmarsthefilm.
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