Pipeline Awards: Congrats!
Yesterday at our User Group we had the honor of recognizing members of the Shotgun community with the first-ever Pipeline Awards. We set out to identify excellence in pipeline tool development, integration, engineering and usage – tools that save loads of time and mix creative genius with a clear grasp of how to make a laborious process better and faster for humans.

Pipeline Hero Award winners and Shotgunners at the Pipeline Awards

We got submissions from all over the world – input that brought to our attention not only cool tools, but also, people who have had an impact on the pipeline community. Because of their personal involvement, contributions, and generous sharing of ideas and best practices, we expanded our categories a bit. Without further ado, here are the winners -- and take a look at the short videos that describe what they’ve built.

Pipeline Shotty Awards – For the top pipeline tools of 2014

Motion Capture Tool – Capture Lab (Yanna Kang)

The Capture Lab has built a client-facing order tool that takes the pain out of selecting and ordering motion capture animation for its clients.

BB Gun – Laika (Tony Aeillo and Owen Nelson)

This tool is an essential part of Laika’s production scheduling workflow and allows multiple departments with different requirements to use the task scheduling capabilities of Microsoft Project to publish task updates to Shotgun where everyone can see them.


In-App Artist Tools – Park Road Post (Dave Alve, Siobhan Durkin, and Pete Black)

Park Road has built many tools, including an Info Panel in Nuke, Time Log Tool, Reference Viewer, Asset Manager, QT Reference Importer, Screening Room enhancements and integration with SGO’s Mistika environment.


Rhino Engine – Burrows

Burrows took the Pipeline Toolkit and ran with it, creating a comprehensive workflow for their CAD centric / car marketing material that includes a great artist-facing tool. Their customization of Toolkit asset management makes browsing, loading, and publishing the multitude of components which make up an entire vehicle (and all of their variants!) a breeze. All of this runs on top of a custom built integration with Rhinoceros, the first of its kind for Toolkit.

Pipeline Hero Awards – For people who have built amazing things, are super active on the dev list and have collaborated closely with us and with the Shotgun community over the years:

Tony Barbieri, Psyop
Armando Ricalde, Cluster
Mike Romey, Zoic
Patrick Wolf, Pixomondo

It was no easy task to choose from such a top crop of tools and we are totally grateful to all who took the time to let us know about these tools. We’re sending a Pipeline Hero t-shirt to everyone who submitted as a small token of appreciation and recognition of the development happening in the pipeline community all over the world.
Shotgun Review: Now Available on iPhone
We’re excited to announce our first iOS app, Shotgun Review. You can use it to browse project media, review notes, and give visual feedback--all from the palm of your hand.

Get it now for free.

Here’s what you can do with it:

- Browse media and playlists in all your projects
- Play back images and movies
- Give feedback with comments, annotated frames, or camera images
- See history on related versions and their notes

Designing for the iPhone was an interesting challenge that required us to focus on simplicity, speed, and usability. During the early design phase, we spent lots of time exploring different directions: Should we put tasks on the phone? Notes? Shots, assets, and other things you track? In testing the designs with users, it was clear that different people wanted to do different things with Shotgun on their phones:

- Supervisors wanted to stay in the loop on work in progress and give artists feedback
- Artists wanted to see their tasks and stay up to date on activity happening around them
- Producers wanted to see status reports showing the progress of all of the work

Instead of cramming all of the possible uses into one app, we set our sights on developing one focused app that would be awesome for a particular group and set of tasks. Of all the people we talked to, one group was especially passionate about a mobile app: the supervisors. These individuals are away from their desks most of the day. They’re either in meetings, traveling for work, or on set with the director. Meanwhile, back at the studio, their teams are cranking out work and waiting for feedback. Often, supervisors can’t look at the work until they’re back in their hotels or offices late at night. This means the time between an artist submitting work and a supervisor reviewing it could stretch beyond 24 hours. If you add that up for all of the artists, that’s a lot of lost time (and money).

With Shotgun Review, our goal was to help supervisors feel free to leave their desks without fear of missing an opportunity to give feedback. We anticipate that this in turn will help artists do their work faster (because they’ll get their notes sooner), producers deliver projects sooner (because artists move through iterations more quickly), and coordinators save time (because they don’t need to ship media to supervisors via FTP when they’re off site). We hope all of these people find value in using the app as well. After all, at the end of the day, the movie, game, or TV show is made by a team working together -- and everyone cares about the final product -- so everyone should have easy access to the project in a secure and simple way.

We’ve been using the app constantly ever since the initial build, polishing the visual design and interaction for weeks. We hope you enjoy it and can’t wait to get your feedback.

NOTE: Shotgun Review requires a Shotgun site. Those new to Shotgun can sign up for a free 30-day trial to give the app a spin. To learn more using the app and and getting setup, visit our support site.
MARI Integration and Maya/MARI Round-Trip Workflow
Unlock your texture artists’ workflow with the latest Shotgun integration – MARI. Through close work with our friends at the Foundry as well as a number of our insightful client studios to identify best practices, we’re pleased to announce that we now offer MARI integration in Pipeline Toolkit, which includes a Maya/MARI round-trip that connects modeling, textures, and lookdev. It’s a major step forward in our continuing efforts to supply your team with the building blocks you need for a complete end-to-end pipeline.

Expanding Workflow Possibilities

The full suite of our Pipeline Toolkit apps are ready to go in MARI. Texture artists can now quickly create a new MARI project from the latest model, publish via the Shotgun Loader app, and paint instantly. As other artists on the team make updates that affect their work, the Breakdown app is there to swap them in seamlessly. Sharing textures has never been easier as the Publish app automatically exports them in a pipeline-friendly way, with names and formats you choose as well as the option to archive if desired. Because our MARI engine also tracks metadata within the application, the links between Shotgun and each MARI project are maintained behind the scenes so everything your artists create stays organized and accounted for. Finally, Maya support in both directions enables you to push out models for MARI work and load textures back in for lookdev with the click of a button.

Jack Greasley, MARI Product Manager at The Foundry, said, “The Foundry and Shotgun share a strong commitment to improving the experience of all of our clients, and it's great to be able to make processes more efficient for them by integrating the tools they use every day. With Shotgun’s native support for MARI we’re streamlining a process that’s very common for texture artists in film and commercial work by enabling them to snapshot and publish files directly from within MARI."

Thanks to the Shotgun Community

The MARI engine is another gold star for our amazing Shotgun pipeline community. Huge thanks go out to Tim Chauncey and Daragh Casey at Windmill Lane VFX in Dublin, Ireland, the team that kickstarted the MARI integration and shared it back with us and the rest of the community at large. We remain in awe of all the work our clients get through and love to see collaborations like this become official releases!

More on the Way

The full power of MARI has much to offer and this is just the beginning of our integration. We’d love to hear more about how you work with MARI and how we can do more to enhance your creativity. What would you like to see next?

As with all of our pipeline code, source is available on Github.

MARI integration is available now and included as part of your Shotgun subscription. As always, email us at toolkitsupport@shotgunsoftware.com with any questions, suggestions, or feature requests.

Find out more in our Mari docs and sign up for a free trial at shotgunsoftware.com/signup.

Introducing Shotgun Desktop, a Native App Shelf for Artists

Shotgun is on a mission to productize the pipeline – to make it super easy for artists to access productivity tools and for developers to deploy them to artists. Today we present Shotgun Desktop, the artists’ front-end experience of that ecosystem.  A native application framework, it sits on the artists’ desktop and provides quick access to key pipeline tools directly from the menu bar.  There’s no need to go back to a browser, remember different installation and startup steps for every application, or deal with command line processes.

Artists: Start new work, get to where you need to go faster

With Shotgun Desktop, everything you need is just a click away.  Log in, pick a project in the tray menu in the toolbar, and off you go.

To launch Maya, Max, Nuke, Photoshop, Houdini or other creative tools, the process is the same – a single click. There’s no need to install anything extra because Shotgun Desktop supplies what each application needs automatically under the hood.

If you’re working in a creative app and want to change tasks or open something new, pop open the desktop tray and launch what you want pronto.

Anyone in the studio can use Shotgun Desktop – it’s not just for launching creative applications. Producers can run reports from it the same way FX artists call up Houdini. Any app that the studio chooses to make available can be accessed, be it a 3rd-party product, an in-house pipeline tool, or something from the growing list of Shotgun apps we’re building and delivering.

With Shotgun Desktop there are no rules to remember extra steps to get to where you need to go. Just focus on creating and let Shotgun handle the details.

Developers: Deploy productivity tools quickly and easily 

Shotgun Desktop makes developers’ jobs easier and more efficient as well, supplying a high-quality, productized app framework with a polished, artist-friendly UI that works across Linux, Mac and Windows.  Our framework bundles Python, Qt, and PySide, meaning all three are always available. So if there’s something we integrate with that has missing dependencies, like Photoshop, Shotgun Desktop is the fallback so you don’t need to install or compile anything else for things to “just work.”  It also means you can rely on everything being there for your own apps that you call from Shotgun Desktop and deploy through Pipeline Toolkit, letting you focus on advancing your pipeline without the hassle of pushing out the right libraries. For those following the VFX Reference Platform initiative, the library versions we distribute are in line with what’s planned for 2015 and we intend to support it as our target going forward.

Launching applications through Shotgun Desktop relies on the same configuration we use through the web, so you have full control over what to launch and how to launch it. We’ve also improved onramp with a step-by-step wizard installer that takes care of both the initial setup as well as project configuration, to help take the guesswork out of rolling out the pipeline for a production.

Shotgun Desktop is a simple, visual interface that puts the power of the Pipeline Toolkit at artists’ fingertips in a friendly, familiar menu tray. For developers, it’s a productized framework ready to help deploy productivity tools that can be used from person to person and project to project quickly and painlessly.

Shotgun Desktop is available now and included for free as part of the Shotgun subscription for all clients.  For download links and instructions on how to install Shotgun Desktop, please click here.

See What Our Partners Are Building!
We’re here at SIGGRAPH showing not only the latest developments coming out of our own lab (which we’ll announce tomorrow), but also some really cool and superbly useful integrations that our partners – tool developers and service companies alike – have created to knit together workflows across the spectrum. If you’re here too, pop over to booth 741 to see...

The Foundry – FLIX

FLIX Product Manager Yiotis Katsambas is joining us Wednesday from 3-4 to preview a feature that enables production teams using FLIX to manage story development to easily publish a sequence into Shotgun. FLIX will automatically create and update shots in Shotgun to mirror exactly what is in FLIX. This allows seamless flow between the story an production teams enabling them to start planning much earlier. Yiotis will demonstrate the one way push of data from FLIX to Shotgun. The teams will be seeking input and feedback from customers and prospects as to what further functionality clients would find useful in this integration.

Thinkbox – Deadline/DraftWednesday from 1-3 Jon Gaudet will preview Shotgun integration with the Deadline render manager, adding functionality through Draft that enables users to generate streaming web content as well as other local files, working seamlessly with Shotgun’s Media App and Client Review Site. With this feature (which will be part of the Deadline 7 beta later this month and ship this fall), artists can automatically create and upload movies and filmstrips when tying a Shotgun version to a Deadline job. They simply click a checkbox when submitting a job and Deadline/Draft handles the rest. It reduces the amount of work required to access more of Shotgun’s functionality when working with Deadline, while keeping things simple.

Company 3/EFILM – Metatrack Portal

On Wednesday 9:30 – 12:30 EFILM’s Weyron Henriques will demo the Metatrack Portal -- a simple, easy-to-use web content management portal that provides Company 3/EFILM clients with an easy mechanism to access and control the distribution of their content to specific VFX vendors while hiding the complexity of content management under the hood. With Shotgun integration, VFX production can identify and request plates they need scanned, and the Metatrack Portal receives all information on the request and automatically fulfills the order notifying the VFX vendors upon completion, thus shaving significant time off the typical process and reducing opportunities for error. The integration contributes to an end-to-end process for clients that flows between dailies, VFX and DI. Visitors can also get a look at the wider capabilities of the Metatrack Portal.

Tweak – RV
In keeping with our SIGGRAPH tradition, Seth Rosenthal and our friends at Tweak will be with us throughout the week showing RV, the next generation image and sequence viewer for visual effects and animation. RV powers high-quality review from the artist desktop to the screening room and supports collaborative workflows with remote synchronization. Tweak folks will demonstrate RV 4.2 and Shotgun Screening Room integration.

Cospective - cineSync and FrankieRory McGregor will be on hand Tuesday 10:30 - 12:30 showing cineSync, the Academy Award-winning solution for remote review and approval of film and television productions, and Frankie, Cospective’s browser-based solution for interactively reviewing stills and video in advertising, music videos and other short form production. Rory will also showcase cineSync Pro integration with Shotgun.
Milk Keeps Projects Flowing with Shotgun
London-based boutique VFX company Milk just celebrated its one-year anniversary; a year of creating innovative and complex sequences for high end TV and feature films. When the studio first established its VFX pipeline, they brought Shotgun in at the heart of their workflow, and they continue to increase the level of integration. Today nearly all of Milk’s 80 staff members use Shotgun daily across production, administration and pipeline teams.

“Starting from scratch was somewhat of a luxury, since it gave us the opportunity to tailor our pipeline to fit our specific needs,” said Milk CEO Will Cohen. “Shotgun is the industry-leading tool for production management and is unwaveringly reliable. From a hiring standpoint, most people already know how to use Shotgun or can get up to speed on it quickly, which means they can dive right in and spend little to no time learning a new system. Shotgun has really become the driving force behind our entire pipeline, making it easy to share work.”

The tight-knit team of industry veterans at Milk is already earning industry accolades, having taken home the 2014 British Academy Television Craft Award for its outstanding visual effects work on the BBC’s “Doctor Who 50th Anniversary special: Day of the Doctor.” Other recent projects include Fox’s series event “24: Live Another Day” as well as the summer feature “Hercules” and the eighth season of BBC’s “Dr. Who.”

Milk Head of Pipeline Benoit Leveau began testing Shotgun in August 2013, then successfully rolled it out into production in October of that year. Currently, Shotgun is used to manage all productions, feed assets to the team and for scheduling. Milk also leverages Shotgun’s Pipeline Toolkit to hook into proprietary tools for ingest and file generation as well as to content creation tools such as Autodesk Maya and Mudbox, The Foundry’s NUKE and MARI, Side Effects Software’s Houdini and Thinkbox Software’s Deadline. The studio is also considering plans to start using Shotgun’s client review feature in the future.

“I’m a big fan of the Pipeline Toolkit because it provides us the freedom to define and augment our workflows. I also love that it’s open source so anyone can contribute, and the Shotgun support team has been very quick and detailed across all interactions,” Leveau explained. “I believe that we are just beginning to scratch the surface on what can be done with Shotgun.”

Milk producer Liam Tully added, “With Shotgun, we can assign and manage tasks, track deliverables through the pipeline, communicate task priorities, trace feedback, and generate status reports. Having direct access to that wealth of information and the flexibility to customize our interfaces helps us better allocate resources and stay organized for jobs of all sizes.”

Milk’s Head of Production Lorna Dumba also shared a thought on the news of Shotgun’s joining Autodesk. “Shotgun has already proven an incredibly useful tool, so we’re excited about the prospect of accelerated feature development that we would hope to see with the merger.”

Learn more about Milk and see their fabulous work here: www.milk-vfx.com.
Thanks for Taking Shotgun to the Movies This Summer!
We’re huge movie fans here at Shotgun and it’s always exciting when we learn that our software played a role in helping our clients deliver their amazing work. Digital Domain, Milk VFX, Framestore, Method Studios, Double Negative, Atomic Fiction, Image Engine, Rodeo FX, and Factory VFX are among the studios who used Shotgun in the production of some of this summer’s top films including X-Men: Days of Future Past, Transformers: Age of Extinction, Guardians of the Galaxy, Teenage Mutant Ninja Turtles, The Giver, Hercules, Lucy, The Maze Runner, and others.

One of DD's cool shots from  X-Men: Days of Future Past
© 2014 Twentieth Century Fox Film Corporation. All rights reserved.
X-Men Characters and Likenesses TM & © 2014 Marvel Characters, Inc. All rights reserved.

Digital Domain has been using Shotgun for more than five years, relying on it recently to manage VFX workflows on features including X-Men: Days of Future Past, Maleficent and Into the Storm, releasing this August. Kevin VanderJagt was the company's Digital Producer on X-Men: Days of Future Past, on which Digital Domain completed more than 430 shots ranging from the 1970s Sentinels to Mystique’s shape-shifting transformations.

© 2014 Twentieth Century Fox Film Corporation. All rights reserved.
X-Men Characters and Likenesses TM & © 2014 Marvel Characters, Inc. 
All rights reserved.
“Shotgun was vital to our workflow on X-Men,” said VanderJagt. “It's the backbone of our production and daily communication structure and is especially important when we have artists at multiple locations working together as one team. We rely heavily on Shotgun as the central database for all shot information – everything we ingest from our clients, from our set survey, camera reports, lens information and plate data to our turnover notes and editorial counts all live in Shotgun. Our review notes, both internal and external, as well as our shot status and client reporting are all driven directly from Shotgun as well.”

Shotgun is also at the heart of Milk VFX’s state-of-the-art pipeline, which was custom built to leverage specific Shotgun features including the Pipeline Toolkit. For this summer’s Hercules, Milk VFX depended on Shotgun to track artist progress on a demanding range of shots. “With Shotgun we have instant access to every piece of information associated with a given shot and its status. On a massive show like Hercules, we relied heavily on Shotgun to keep our VFX pipeline running smoothly and ensure efficient collaboration across our artist and production teams,” said Will Cohen, Milk Co-Founder and CEO.

Framestore taps Shotgun for its feature VFX productions, enabling easy collaboration and tracking for hundreds of artists across multiple facilities on features including Marvel’s Guardians of the Galaxy and Tom Cruise thriller Edge of Tomorrow. Other studios using Shotgun to manage VFX pipelines on the season’s studio features include Method Studios (Transformers: Age of Extinction, The Maze Runner, The Giver), Double Negative (Hercules), Atomic Fiction (Transformers: Age of Extinction), Image Engine (Teenage Mutant Ninja Turtles), Prime Focus (Sin City: A Dame to Kill For), Rodeo FX (Lucy), and Factory VFX (The Maze Runner).

If you haven’t seen these movies, grab some popcorn and get ready to be blown away. Thanks for bringing us along!

Edge of Tomorrow
Dawn of the Planet of the Apes
Guardians of the Galaxy
Into the Storm
Jupiter Ascending
Maze Runner
Sin City
The Fault in Our Stars
The Giver
Transformers: Age of Extinction
X-Men: Days of Future Past
Siggraph Party!
We're throwing a Siggraph party for all of our friends, and we'd love for you to join us.

Fill up on Vancouver’s best barbecue and local brews and wines and get primed for later-night fun. Capacity is limited so be sure to RSVP.

Tuesday August 12th, 5-10pm

Vancouver Rowing Club, 450 Stanley Park Drive

Hope to see you there!

The Shotgunners
Get to know... Mackevision
In the spirit of connectedness and collaboration, we’ve been chatting with Shotgun customers worldwide to gather stories, passions and advice to share with the community. We had a chance recently to catch up with Heiko Burkardsmaier, Head of Legal Business Affairs at Mackevision (HQ in Stuttgart). Mackevision VFX Supervisor Jörn Grosshans and the team at Mackevision were recently nominated for a VFX Emmy for the company’s work on ‘Game of Thrones’ season four together with other VFX companies, and their breakdown reel for the project has been tearing it up online.


Tell me a little bit about Mackevision.

Mackevision is one of the global leaders in computer generated imagery (CGI) which covers 3D visualization, animation and visual effects for OEMs across the automotive industry. We develop technological solutions for generating images and look after the entire CGI process from data preparation to creative design. Basically we get the technical data from the car engineers, we convert that into Maya or 3ds Max files and we use that to provide any number of configurations – such as color choices, wheel choices, fabric choices – and deliver prints of whatever configurations they request, often for use in marketing. There are endless configuration options, so we’re dealing with a lot of data. We have a configuration backbone that we programmed ourselves called COBA. It’s quite a complicated process involving lots of data and having the right tools to access and manipulate that data quickly.

Mackevision has offices worldwide and about 300 employees. In the U.S. we have offices in Detroit and Los Angeles; the main office is in Stuttgart, Germany, and we have additional offices in Munich, London, Hamburg, and Shanghai. Then we have two sales offices in Japan and Singapore. In 2013 Mackevision started its VFX department and since then we’ve worked on a couple of productions, the biggest one so far is Game of Thrones season 4 where we did 72 shots.

What does the name mean?

The original founder’s name was Marcus and Mackevision is derived from that – his nickname was Macke. When new owner came on the company name already had such recognition in the market that he kept it.

Why has Mackevision been so successful?

For the car industry you need to have specialized solutions; you don’t just provide CG images but you have to adapt to the automotive design process. We have an R&D department of about 7-8 people who are specifically programming things for each automotive client’s specific pipeline. So that’s key, we know how the automotive industry works and how to adapt our process to the specific requirements of the clients. We are always aiming to technically and creatively hit the highest target. We want to have the best solutions available.

For the VFX department, we were known to HBO from our previous work on seasons two and three of Game of Thrones prior to joining Mackevision, so when we started this department we were able to get great artists and great support and trust from HBO, and they gave us some really nice shots for season four.

Mackevision VFX Supervisor Jörn Grosshans led the company’s team
on ‘Game of Thrones’ season four. He is among the nominees for a
2014 Visual Effects Emmy Award.

What is a day in the life of Heiko like?

My day starts with getting coffee and checking my email, then we start talking about whatever problems there are on current projects that I need to address. That’s in terms of running the VFX department. Then I’m also the company lawyer, and I’m also the sales guy for VFX, so I check if there are any new projects or legal things that I need to follow up with.
What are the three most important things in your office?
Of course the storage and the render farm – those are crucial. And the right talent – great artists and great IT people. It’s also essential for our company to have the special tools that we have programmed, like COBA.

What tools do you use in-house at Mackevision?

We basically try to use everything off the shelf. We use Nuke for compositing, and our main 3D software is 3ds Max but we also use Maya and Krakatoa when necessary. We’re relatively small for VFX, 50 people – the automotive side is bigger and they have their own specialty tools, but for VFX we like things out of the box. We have a pipeline developer that tweaks the plug-ins for us to optimize each tool but we don’t have a big R&D department to create special tools for us. Shotgun is of course at the top of our list. I always think of it as a database more than software, but it’s essential for our VFX department to manage all of our projects and keep everything running. We also use Shotgun as a time tracking tool and we also use the data we get from Shotgun as a controlling tool. So it’s basically at the heart of each production.

What in-house/custom developed tool are you most proud of?

We have our own fluid solver, it doesn’t have a name but it was written by one of our auto R&D guys who’s a PhD student in VFX here in Stuttgart and he wrote it as his PhD thesis. We found out that we can use it really well with Softimage to do CG water, and we did quite a lot of those types of shots on Game of Thrones.

How much effort do you focus on building out of the pipeline?

That’s really important. We have 50 people total in VFX and one guy who only works on pipeline development – so that’s a lot of human resources dedicated to pipeline considering our small size. One thing that’s so fascinating about Shotgun is you can add new tools to it and program your own stuff – that’s what really moves us forward and streamlines our processes and makes things easier for our artists. Every new project has its own challenges so we need to keep adding stuff to the pipeline and to Shotgun. It starts with something small like an artist suggests having a pop up window to see comments, so our pipeline guy just tweaks it in Shotgun and it makes everyone’s life easier.

Why is pipeline important?

Artists are very creative and very technically savvy, and the pipeline really provides the structure for what they do. It links the technical needs and the creative side. It structures the work so that we don’t lose resources and money. When you have multiple people working on different tasks on the same shot, that’s risky – you have to make sure everyone’s on the same version. That’s where Shotgun is really key. It gives structure to a very complex business.

What inspires you?

Watching movies. If I see a great movie, it inspires me to do things with the VFX team here that are really challenging. And working on something that you love is inspiring. For example I’m really a fan of Game of Thrones, so being part of that whole package, the story and the acting, that’s very inspiring.

How do you stay connected to the artist community?

Here in Stuttgart the VFX industry is kind of a family. I’m a lecturer at the film academy and the university here, so I stay in touch with the schools to know who the up-and-coming talents are and make sure the teachers there have us as resources. It’s a small community and we really try to communicate with everyone, via holiday parties or email or LinkedIn. Keeping personal contact is key, and it’s easier to do that at a smaller facility like ours where we can hand-select people. We’re lucky to have a bunch of really good, experienced artists working for us.

What is your favorite thing about working in Stuttgart?

You have the feeling that something big is happening. Other parts of the VFX world are fighting against globalization but here the industry is still growing. We have all these schools and talented young people coming out and it just feels like we’re moving forward. We’re not necessarily on the VFX map yet so there’s a sense that we’re expanding and growing – a feeling that something big could happen here.

When you aren’t working what is your ideal way to spend the day?

With my family and kids, definitely.

What led you to visual effects?

It was basically by accident. The company where I worked in 2001-2002, they did film production and post-production, and I was running the legal department. The company moved to Berlin but I wanted to stay in Stuttgart, and the only job for me in Stuttgart was at a small company that needed legal but also needed help running their VFX department, so I ended up doing both. Then I moved to Pixomondo and ran their VFX office here which was a bit bigger, then I moved to Mackevision in 2013 to start their VFX department. From my legal background I have a lot of experience with film financing, and that knowledge is very helpful.

What is the biggest challenge in running a studio today?

Two things – to have the best talent available (and to keep them), and to have a continuous amount of work. Small and big studios alike always have one bad quarter, usually in the summer when everything is shooting and they’re not ready for VFX yet. That’s why the model at Mackevision makes sense, because we have the automotive side to always keep us busy throughout the year. When you’re only doing movies, it’s difficult to have constant work coming in, and now with globalization the margins are so small that it’s hard to stay open if you don’t have work. So you need to find other solutions.
Congrats to our clients who worked on Emmy-nominated shows
Shotgun is excited to support the awesome studios that created the spectacular visuals for shows recognized with VFX Emmy Award nominations this year.We're honored that you use our software and we will continue to build tools to help you bring the world inspiring work.

We wish you and all nominees luck at the awards this year!

Outstanding Visual Effects

Outstanding Special and Visual Effects in a Supporting Role

Outstanding Animated Program

We did our best research to list all of the Shotgun clients we could find associated with each show. If you're not listed, let us know and we'll update the post!

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