The top Hollywood exec made $498 million in the last 5 years
The top 10 highest-paid Hollywood executives in the last 5 years includes:
- David Zaslav, Warner Bros. Discovery Inc.: $498,915,318
- Ari Emanuel, Endeavor Group Holdings Inc.: $346,935,367
- Reed Hastings, Netflix: $209,780,532
- Bob Iger, Walt Disney Co.: $195,092,460
- Ted Sarandos, Netflix: $192,171,581
- Rupert Murdoch, Fox Corp.: $174,929,867
- Lachlan Murdoch, Fox Corp.: $171,359,374
- Brian Roberts, Comcast Corp.: $170,158,088
- Joseph Ianniello, Paramount Global: $152,793,125
- Patrick Whitesell, Endeavor Group Holdings Inc.: $143,584,597
In a random comparison:
10 Difficult Skills that Pay Off Forever
- Working out consistently
- Personal Finance Skills
- Meditation
- Communication
- Waking up early
- Public Speaking
- Be honest within
- Leadership
- Decision Making
- Listening
Introduction to Autodesk ShotGrid
https://customersuccess.autodesk.com/learning/course/introduction-to-shotgrid
Learn about ShotGrid’s basic capabilities and functionality in this introductory course. Set up your account, gain an understanding of the structure of data within ShotGrid, learn to navigate ShotGrid, determine your role, including what you can and cannot do, and customize the view of on-screen data.
OpenAI may go bankrupt by 2024, AI bot costs company $700,000 every day
While OpenAI and ChatGPT opened up to a wild start and had a record-breaking number of sign-ups in its initial days, it has steadily seen its user base decline over the last couple of months. According to SimilarWeb, July 2023 saw its user base drop by 12 per cent compared to June – it went from 1.7 billion users to 1.5 billion users. Do note that this data only shows users who visited the ChatGPT website, and does not account for users who are using OpenAI’s APIs
WGA Response to Studios Indicates No Quick End to Strike
https://variety.com/2023/biz/news/wga-response-studios-not-quick-strike-1235697413/
The two sides remain at odds on items across the board, including streaming residuals and a higher minimum tier for TV writer-producers
The WGA wants to tie streaming residuals to the popularity of a show, but streamers had adamantly refused to share such viewership data.
The WGA is also seeking a provision that would allow its members to honor other unions’ picket lines.
Most bosses regret how they mandated workers return to the office. They blamed it on not having enough data
Four in five (80%) of bosses told workplace software firm Envoy that, had they had a better grasp on actual employee preferences, they would have taken a starkly different approach to their return to office plans. The problem, they said: They didn’t have access to workplace data to help them make their decision.
Lucasfilm to shut Singapore operations, affecting more than 300 employees
Lucasfilm is winding down operations in Singapore after nearly 20 years in the country, with parent company Disney citing economic factors affecting the industry.
According to an ILM employee in Singapore, there are 340 staff members in the company and work will continue until the end of the year.
Unpremult and Premult in compositing cycles
Steve Wright
https://www.linkedin.com/pulse/why-oh-premultiply-steve-wright/
James Pratt
https://jamesprattvfx.wordpress.com/2018/11/08/premult-unpremult/
The simple definition of premult is to multiply the alpha and the RGB of the input together.
Un-Premult suggests that this does the opposite operation to the premult node. Therefore instead of multiplying the RGB values by the alpha, it divides instead.
Alan Martinez
“Unpremult” and “premult” are terms used in digital compositing that are relevant for both those working with computer-generated graphics (CG) and those working with live-action plates.
“Unpremult” is short for “unpremultiply” and refers to the action of undoing the multiplication of a pixel by its alpha value. It is commonly used to avoid halos or unwanted edges when combining images. (This by making sure that edits to a layer are added independently from edges’ opacity levels.)
“Premult” is short for “premultiply” and is the opposite process of “unpremult.” In this case, each pixel in an image is multiplied by its alpha value.
In simple terms, premult crops the RGB by its alpha, while unpremult does the opposite.
It’s important to perform color corrections on CG renders in a sort of sandwich approach. First, divide the image to extend the edges fully of the RGB channels. Then, apply the necessary color corrections. Finally, pre-multiply the image again to avoid artifacts on the edges.
Typically, most 3D rendered images are premultiplied. As a rule of thumb, if the background is black or even just very dark, the image may be premultiplied. Additionally, most of the time, the 3D render has antialiasing in the edges.
Aaron Strasbourg
https://www.aaronstrasbourgvfx.com/post/2017/06/23/002-unpremult-and-premult
KeenTools 2023.2: Introducing GeoTracker for Blender!
https://keentools.io/products/geotracker-for-blender
Changes in add-ons Blender
- GeoTracker open beta
- Up to 3 times faster texture generation
- Minor bug fixes and improvements in FaceBuilder
Changes in GeoTracker for After Effects
- Video analysis up to 2 times faster
- Improved tracking performance up to 20%
- Accelerated surface masking
- Fixed primitive scaling issue
- Minor bug fixes and improvements
Changes in Nuke package
- Video analysis up to 2 times faster
- Improved tracking performance up to 20%
- TextureBuilder up to 3 times faster
- Accelerated surface masking
- New build for Nuke 14 running newer linux systems (RHEL9)
- Minor bug fixes and improvements
Marvel VFX Artists Vote to Unionize
https://variety.com/2023/artisans/news/marvel-vfx-artists-unionize-1235690272/
BREAKING: Visual Effects (VFX) crews at Marvel Studios have filed for a unionization election with the National Labor Relations Board, Monday. The move signals a major shift in an industry that has largely remained non-union since VFX was pioneered during production of the first Star Wars films in the 1970s. A supermajority of Marvel’s more than 50-worker crew had signed authorization cards indicating they wished to be represented by the International Alliance of Theatrical Stage Employees (IATSE).
This marks the first time VFX professionals have joined together to demand the same rights and protections as their unionized colleagues in the film industry. Mark Patch, VFX Organizer for IATSE, highlighted the significance of this moment: “For almost half a century, workers in the visual effects industry have been denied the same protections and benefits their coworkers and crewmates have relied upon since the beginning of the Hollywood film industry. This is a historic first step for VFX workers coming together with a collective voice demanding respect for the work we do.”
While positions like Production Designers/Art Directors, Camera Operators, Sound, Editors, Hair and Makeup Artists, Costumes / Wardrobe, Script Supervisors, Grips, Lighting, Props, and Paint, among others, have historically been represented by IATSE in motion picture and television, workers in VFX classifications historically have not.
Bella Huffman, VFX Coordinator, highlighted the challenging nature of the industry: “Turnaround times don’t apply to us, protected hours don’t apply to us, and pay equity doesn’t apply to us. Visual Effects must become a sustainable and safe department for everyone who’s suffered far too long and for all newcomers who need to know they won’t be exploited.”
The Marvel VFX workers’ filing for a union election comes at a pivotal moment in the film and television industry, amidst ongoing strikes by both the Actors and Writers guilds as both seek fair contracts with the studios and the Alliance of Motion Picture and Television Producers (AMPTP).
IATSE International President Matthew D. Loeb put it in plain terms, “We are witnessing an unprecedented wave of solidarity that’s breaking down old barriers in the industry and proving we’re all in this fight together. That doesn’t happen in a vacuum. Entertainment workers everywhere are sticking up for each other’s rights, that’s what our movement is all about. I congratulate these workers on taking this important step and using their collective voice.”
Photography Basics : Spectral Sensitivity Estimation Without a Camera
https://color-lab-eilat.github.io/Spectral-sensitivity-estimation-web/
A number of problems in computer vision and related fields would be mitigated if camera spectral sensitivities were known. As consumer cameras are not designed for high-precision visual tasks, manufacturers do not disclose spectral sensitivities. Their estimation requires a costly optical setup, which triggered researchers to come up with numerous indirect methods that aim to lower cost and complexity by using color targets. However, the use of color targets gives rise to new complications that make the estimation more difficult, and consequently, there currently exists no simple, low-cost, robust go-to method for spectral sensitivity estimation that non-specialized research labs can adopt. Furthermore, even if not limited by hardware or cost, researchers frequently work with imagery from multiple cameras that they do not have in their possession.
To provide a practical solution to this problem, we propose a framework for spectral sensitivity estimation that not only does not require any hardware (including a color target), but also does not require physical access to the camera itself. Similar to other work, we formulate an optimization problem that minimizes a two-term objective function: a camera-specific term from a system of equations, and a universal term that bounds the solution space.
Different than other work, we utilize publicly available high-quality calibration data to construct both terms. We use the colorimetric mapping matrices provided by the Adobe DNG Converter to formulate the camera-specific system of equations, and constrain the solutions using an autoencoder trained on a database of ground-truth curves. On average, we achieve reconstruction errors as low as those that can arise due to manufacturing imperfections between two copies of the same camera. We provide predicted sensitivities for more than 1,000 cameras that the Adobe DNG Converter currently supports, and discuss which tasks can become trivial when camera responses are available.
Denoisers available in Arnold
https://help.autodesk.com/view/ARNOL/ENU/?guid=arnold_user_guide_ac_denoising_html
AOV denoising: While all denoisers work on arbitrary AOVs, not all denoisers guarantee that the denoised AOVs composite together to match the denoised beauty. The AOV column indicates whether a denoiser has robust AOV denoising and can produce a result where denoised_AOV_1 + denoised_AOV_2 + … + denoised_AOV_N = denoised_Beauty.
OptiX™ Denoiser imager
This imager is available as a post-processing effect. The imager also exposes additional controls for clamping and blending the result. It is based on Nvidia AI technology and is integrated into Arnold for use with IPR and look dev. The OptiX™ denoiser is meant to be used during IPR (so that you get a very quickly denoised image as you’re moving the camera and making other adjustments).
OIDN Denoiser imager
The OIDN denoiser (based on Intel’s Open Image Denoise technology) is available as a post-processing effect. It is integrated into Arnold for use with IPR as an imager (so that you get a very quickly denoised image as you’re moving the camera and making other adjustments).
Arnold Denoiser (Noice)
The Arnold Denoiser (Noice) can be run from a dedicated UI, exposed in the Denoiser, or as an imager, you will need to render images out first via the Arnold EXR driver with variance AOVs enabled. It is also available as a stand-alone program (noice.exe).
This imager is available as a post-processing effect. You can automatically denoise images every time you render a scene, edit the denoising settings and see the resulting image directly in the render view. It favors quality over speed and is, therefore, more suitable for high-quality final frame denoising and animation sequences.
Note:
imager_denoiser_noice does not support temporal denoising (required for denoising an animation).
Virtual Production volumes study
Color Fidelity in LED Volumes
https://theasc.com/articles/color-fidelity-in-led-volumes
Virtual Production Glossary
https://vpglossary.com/
What is Virtual Production – In depth analysis
https://www.leadingledtech.com/what-is-a-led-virtual-production-studio-in-depth-technical-analysis/
A comparison of LED panels for use in Virtual Production:
Findings and recommendations
https://eprints.bournemouth.ac.uk/36826/1/LED_Comparison_White_Paper%281%29.pdf
