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Nebula Studios:
its origin and growth story


2021Jun29: Artists João Marcos Marchante, Guilherme Afonso and Miguel Madaíl de Freitas discuss the ideas and effort that sparked the creation of Lisbon-based Nebula studios and the challenges and opportunities that they have faced along this 13 year journey. The Artists discuss how C4D is their go-to 3d tool and how they have used it for motion tracking, character rigging, animation and more.

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Webinar time stamps of interest:

  • 00:00 to 01:00 introduction of panelists by Charlie Watson (Jellyfish Pictures)

  • 01:00 to 05:06 introduction to GridMarkets by Mark Ross (GridMarkets)

  • 05:06 to 08:44 security overview from Oracle - GridMarkets cloud partner by Ben Hill - (Oracle)

  • 08:44 to 54:31 Nebula Studio's story

    • 09:40 the start of Nebula's reel​

    • 11:10 Nebula's origin story

    • 14:10 the origin of Nebula's short: Don't Feed the Animals

    • 17:50 Don't Feed the Animals trailer

    • 18:59 how Nebula balances commercial and creative priorities

    • 21:10 from concept to production

    • 23:00 the power of Cinema 4d (C4D)

    • 24:41 finding sponsors for Don't Feed the Animals

    • 25:52 creating a new studio pipeline with all new tools

    • 26:37 hiring talent (converting Maya artists to C4D)

    • 29:54 the tools used to create Don't Feed the Animals

    • 32:48 how Nebula coped during Covid

    • 36:10 a sample commercial produced by Nebula

    • 36:48 using remote artists

    • 39:24 where Nebula is going from here

    • 45:55 having fun - President Trump interview

    • 49:14 Nebula's use of and predictions for cloud rendering

  • 54:31 to 56:31 summary (next webinar with AlpsVFX, promo code, Oracle URL)

Webinar Transcript . . .

Thank you for joining us today! It's gonna be a really fun laid-back chat with the academy talented guys at Portugal-based animation and VFX facility Nebula Studios. To do a few introductions: I’m Charlie Watson, I’m head of PR and communications at Jellyfish pictures. That's the VFX and animation studio based in London, and it's my job to steer this ship this evening. So, hello, welcome! Nice to meet you, a bit virtual. Before I introduce you more formally to the wonderful trio Miguel João and Guilherme from the out of this world studio Nebula we're going to hear from the man that made this brilliant webinar possible and that's GridMarkets co-founder Mark Ross and that's followed by ben hill who is global director of Oracle for startups and is a partner with GridMarkets so Mark please take it away and tell us a bit more about GridMarkets and yourself okay thanks Charlie and welcome everyone thanks for joining I think you're going to find the talk with Nebula really interesting they've got a really great studio and we've got you know their principals here to talk with you today but let me tell you very briefly about GridMarkets what we are we're a cloud rendering and simulation solution and we support the major 3d packages like Cinema 4d HoudinI Maya 3ds Max Blender and nuke and in addition all the major renders as well the GPU renders redshift as well as the CPU ones including Mantra Arnold V-ray and Renderman the platform that we used to serve studios and freelancers and students was designed and built and is supported by artists so we think you'll find it very easy to use because it was as I said built and designed by folks like you GridMarkets has a little over 4000 customers in roughly 90 countries so the GridMarkets’s day never ends we're always getting submissions from somewhere in the world and the submission process is very simple I’m going to go through it at a high level for you in just a moment but basically all you need to do is decide how many machines you want to use what configuration of those machines you would like and then you submit that request to us from the 3d software that you're using so if you're sitting in front of Cinema 4d you are able to submit from Cinema 4d directly to us very easy let's go through quickly how it what it looks like so the first step is you have to sign up and get a GridMarkets’ account so you go to sign up and you'll see a screen that's similar to what you see here and you enter your account information just a couple questions to get you set up and then you download what we call Envoy is a tool which manages the uploading and downloading of your files and Envoy also contains the plugins for the different 3d software solutions that we have so you pick the Envoy that corresponds to your operating system whether using Windows or Linux or mac once that's downloaded you then choose whatever the plugin for whatever 3d software you're using again could be HoudinI or Maya or nuke or whatever whichever of those you're using and when that's installed then you submit to us so in this example I’m showing a submission using the Cinema 4d plugin so you'd be seeing in front of Cinema 4d it happens that Nebula is a big Cinema 4d user so we're showing that example here your project files are then uploaded to GridMarkets via Envoy and you would select whether you wanted to use in this case V-ray redshift or Arnold and also specify as I said what machine count you want and what configuration and that's it once you do that you're going to get a real-time dashboard that's going to show you the status of your submissions what progress has been made on them you can also use this interface to control the jobs that you have you can if you want to pause them or start them and stop them this is the interface that you use for that purpose and then when your frames start to complete they download as they complete so you don't have to wait for them all to be completed but they start downloading into a directory that you designated during submission time so that's it we're offering a 15 discount on any credits that you purchase use that promo code at the bottom and if you're an existing GridMarkets customer use that promo code at the bottom when you buy your credits and you'll get the discount that way otherwise if you're if you've never used us before go to the sign up page and sign up and off you go there you go ben over to you all right thank you so much mark again my name is ben hill I’m a global director in the oracle for startups program we're an accelerator program for startups to help them become successful companies so pretty straightforward I manage our cloud architect team and today I’m going to be talking about OCI's tireless dedication to security but I understand this is simply an appetizer before the main course so I promise to make it quick so when oracle went about launching our gen 2 cloud offering our approach to security was deliberate and direct ensuring that it was automated in or excuse me architected in automated always on and best of all it costs nothing so how do we go about doing this let's go through some of the high points more security by default now what does that mean firstly we design for isolation we've taken the hypervisor and put it on the network layer this approach separates customer traffic for better security and performance and as an added bonus it reduces the risk of hypervisor based attacks also OCI has what's called separations of duties which means no access to your memory space by the administrators and for things like data and stored services we have full encryption at rest and emotion as well as integrative backups for business continuity and disaster recovery best practices now we can move on and chat about our auto detection and remediation capabilities specifically I’ll touch on Oracle Cloud Guard security zones and vulnerability scanning services really quickly so Oracle Cloud Guard provides comprehensive end-to-end monitoring for cloud environments it essentially is continuously collecting and analyzing service configurations things like audit logs and other reporting information and it will identify issues as problems based on the security recipes that come with the solution itself or custom security recipes created by the admin so it's perpetually monitoring your environment for any out any unnatural behavior and to complement Oracle Cloud Guard we have oracle's vulnerability scanning service which routinely checks hosts for potential vulnerabilities and it generates detailed reports with metrics about potential weak points and then lastly through the use of OCI security zones our administrators are able to automatically enforce best practices on resources in a selected compartment so in short what that means is users cannot create or update a resource in a security zone if the action violates a security zone policy and again most security services and the last pillar are free so as mentioned before encryption at rest and in motion for all data all storage services have automatic backup capabilities multi-factor authentication cloud guard for monitoring as I had mentioned and OCI is open to all third-party tools so you can federate IAM policies with your organization centralized identity provider as well as seam systems like Splunk and logarithm and other services like oracle cloud vault can be used to store passwords ssh keys and certificates so pretty straightforward again like I said I was going to be really quick really fast I know you guys are excited to see what Nebula has to offer so thank you so much for your time and I’m going to pass it off to the gentleman over at Nebula thanks ben that was great and thanks mark for taking us through all of that I’m sure we'll have some questions later on about some more of that but now the men of the hour are about to be introduced so as mentioned earlier we have joining us today Nebula co-founder João Marchante Guilherme Alfonso and director Miguel de Freitas Nebula have done some incredible work in the commercial space for some of the biggest brands in Portugal including unbungo max pack and interval in 2016 the team took on total creative control and writing directing and creating their own multi-award-winning short film entitled don't feed these animals so before we get into the nitty-gritty and you get to see these wonderful men let's look at some of their beautiful commercial work well then if you could share your video please for real sure so so so let's see huh thank you that was amazing very intense and lots of eclectic work yeah so I think before before we get into it and start talking about your amazing short let's take it back to 13 years ago João Guilherme starting off in your lounge how do you talk a little bit about when you first started what it looked like and how maybe it's a little different what it is today yeah so yeah it started hey it was just three guys in the living room and a couple of laptops but we felt that we could do something in in the in the post-production in the in the animation scene in Portugal specifically advertising wise I mean there were a couple of production houses and studios and intermission cities and so on but we thought that we could kind of make a difference or at least try if not just just pack up and leave gm's living room to my place and off we went but hey it worked so 13 years later we're still here and it was fun I mean we it's literally it's not the garage or basement type of thing it was a living room type of thing we had nothing to lose and a lot of stuff to try so we did and a couple of years later Miguel joined the team and a couple of years ago it was like the next year 11 years ago yeah I remember I remember them like going downstairs and getting receiving me you're like on the lobby of the building super embarrassed because I wasn't going to let him in I wasn't going to let you win in his living room I didn't know you man I was like these guys totally are working from their room yeah so I just the first time we went I remember I handed you a couple cds and here here's the stuff that you need because there was no big fat broadband by then off you go and do your stuff and get back to us and so we started and we never finished so that was going to be one of my questions Miguel did you know chirael and gulen before but it sounds like you didn't you they didn't trust you to go into their lounge so obviously it was it was even weirder I think I actually remember drawing Jerome is really good with people you know it just goes to these artists with me by the time and said hey can I use your portfolio to get a job and I was like what well we like are you crazy but then yeah okay I got something for you can you come here okay let's go I was like who are these crazy people I’m probably gonna be I’m going to be kidnapped at some point with these guys which I probably he's taller than me he's a tall guy by the way yeah I mean there's still time but yeah and then we never stop I mean it was a big friendship that that grew up together in parallel to being here on an amazing working situation in place and yeah so graham you're you and Miguel work quite closely together and kind of the creative helm of a lot of your commercial work and also the short was it how long did it take you to get into that creative group and what was it that eventually led you to kind of think of the idea of don't feed these animals yeah so we started with the commercial style of things so we did a lot of advertising for a lot of brands and on the side we always add this our ideas to to to to make movies to make simple animations etc. so we always had this dream of making someday a short a feature something and we wrote a lot of scripts and ideas and I guess it was probably five years ago then that we I received this cute drawing of a friend of ours that used to work with us and it was this lobotomized bunny which was super strange sounds adorable yeah yeah and I talked with Miguel and we said yeah this is it let's tell the story of this this cute bunny and the idea was born and yet it was the start of the short and it took us about three years to finish it and yeah that's that that is it was like this it was this mix of ingredients it was we had already written some ideas before and we knew that we they could never see the light of the day because you know time and money constraints etc. so it was like getting the that missing piece which was just as drawing for lobo and then just saying okay we're getting old you know it's now or never so let's build something out of this and let's try let's just tell the story of how a lobotomized bunny gets to befriend with a living habit and so it just went from there and having fun while still having to having a lot of fun working as well and of course the student kept running but we love advertising as much as any job of course but it's like that thing of putting out something that that is ours you know and eventually who knows like in the in our wild stream can get us to some entertainment industry who knows to see this on any bigger future film I mean that's there's a difference between working someone else's Ip which is our day-to-day life and trying to create one and create something from scratch I mean you guys always give your personal thing and view and turn to whatever project we do but you never started that low or that early because there's always something written or created by someone else for us to get it through and bring it to life yeah and it was wonderful too to actually have something and the opportunity aka time and money to do this do you should we show attendees the trailer before we start getting properly into all the questions if you want to show the trailer can you guys see the screen yes you should you should try and share again with the with the check marks remember that now it's with the sound I think yeah okay let's play the trailer wow uh brilliant leaves us wanting more and maybe if people want to stay on at the end you might be able to watch the whole thing or go on to Nebula's website absolutely share the link with you later you mentioned before about the time and money situation and I think that that's a big thing you know when you're when you it's great making commercials you're being paid to to do it by someone by a client so when you're going into this how did you have to think about different setups because it is your time and it is your money that you're investing into it I guess you're out as executive producer and probably king of the spreadsheets what did you how what how was this different compared to how you would tackle one of your commissions from your client well I I would say at first glance I would say it wasn't because we spend our money as wisely as we spend our clients first of all but then there's the thing I mentioned earlier that is the fact that there's a lot of research and exploration and concept drawing and stuff that is not straightforward and a straight line our the production animation process never is and you know that Charlie but going back a couple of notches where there's even more creative freedom because there's no path to trail yet because we're building it as we speak and as you go along it's kind of sometimes it was nerve-racking can we please move on because we have enough of these concepts now can we can actually go and do stuff as invisible stuff but I would totally understand the fact that it's not honed in and we only get to do this once you only get to like to break the piggy bank once so I get it they were just having fun and wanting to do as better as they could so yeah that was the big difference is that first or earlier moment in which we usually get from clients and the one that we were spending on our own time and money to get it to ourselves yeah exactly so also I was going to ask about that concept art so once you had it locked and then I guess you had a really good idea about the textures you wanted and the detail you wanted to bring to the characters what did that I mean was saying there was those iterations of concept art and that discovery fades did you want to kind of nail down the detail that you wanted the pipeline have to evolve from there um yeah exactly just to take it a little bit back as was saying we had to approach this as a commercial job in the sense that we had to hire freelancers so we had also had deadlines for this even though they were all trashed exactly the outside spectacularly yeah so in for instance the concept artist as you were mentioning Charlie they were freelancers we had two one was with us at the studio but we had another one that he was in Thailand so we can imagine that sometimes not only the language barrier is an issue but also the time zone etc. actually the visual culture as well I remember that yeah that was very interesting I mean it brought riches that's not what I meant that's still not what I meant there we go one thing that you guys forget to say about the short was of course we knew that it was such a big endeavor in terms of time and money and the people that we probably would eat so the first thing to do was like everyone has this expression to throw the clay at the wall and see if it's thick so picking up from there we were as you as you said Charlie we were starting to realize an opportunity to kind of change our way of thinking almost as deep as that in terms of pipeline so we at that time we were given the opportunity to see how cool like seeing it before he was and how fast it was to get some work done as opposed to the software and the pipeline that we were using before and especially me that came from the old days I was really like the opening to see the change and to see like the big picture and the bride and then once we did we were like okay so but wait can you show me like character animation down in Cinema 4d and there was like almost none you know that 2016 Singapore he was like the CNN almost for shiny balls as I would say like really motion stuff and so we thought about okay it would be such a big endeavor but such a big opportunity to just go and try to learn and try to test out this new pipeline as we go and also and also try to do let's try to reach out max and for Cinema for the makers and see if they want to come on board with us on this adventure and so we ended up creating this like plan you know this project that would be beneficial to everyone for us and for them to get all the marketing etc. and anything that we would basically create to help them like showing the strength and then yeah they went along and with them they brought all these wonderful brands that you can see nobody knows and video and good markets and etc. of course they are huge people in the game and we were really fortunate to get all these brands helping us not with money of course and we wouldn't we wouldn't want any time we want to be like free on that on that chapter but I mean licenses support rendering if it wasn't for these awesome gentlemen brands we wouldn't be here talking to them and this is very important to say but then also with their support we then started the massive endeavor of learning a new software changing a pipeline on a site-based project which we defined as a as a commercial product as well also keep the commercial projects going on in smoothly changing you know getting picking on what we were learning and basically changing our minds I’m just babbling right here so no you're not gonna continue but I think I should just best on the wall go I’m excited I’m just even illustrating what you're saying can you guys still see my screen yeah sure perfect yeah and it's an important and it's an important thing to say you know that whilst whilst you're kind you're learning a new process in itself around the creative process and creating your own thing and being in control having complete creative control but then also having control over learning a new set of software and ways of and ways of creating things I mean did you when you were hiring talent did you then have to look at specific artists that knew this software was that was that one of the considerations you had to think about well I I can ask that one okay I mean we when we were developing the short film we were developing this new pipeline which was c4d plus redshift basically but we had our last the main pipeline still active for commercial work which we were doing at the same time so that gave us time not only to develop a new pipeline but also look for talent because it is a different talent pool it depends on the on the on the trade of the freelance or the talent itself if it's modeling it's a very broad thing he doesn't have to model in c4d at all but if as you go along further ahead in the pipeline all through rendering and stuff and a little bit backwards and forwards you do need specific program talent and yeah we had the short film as just enough time to get our people in and trying to figure out where was the community that could help us and we had that time while working on the on the main planet well it was three years so we did get the time to find people go which was really hard thing to do so yeah so imagine from shiny balls you don't get carrots animators on C4D so how the hell will we get a character image so basically we didn't we did it we went for we went to the animators that we knew from Maya and the wreakers from Maya and they jumped in as well and it said okay let's have it go on this new software which is super fun because at some point we could say we actually trained a lot of talent people that right now today they have they work at them unfortunately on c4d doing character animation in rigging and whatnot you know that's awesome the speed that the everyone just picked it up you know and adapted was amazing and not only to the software but also to the whole like remote situation that we kind of were sort of going to into not only because of all the foreign people like with the title with the talent concept artist but I mean if it works with him at that business he can work with anyone from any of this and so at that point can you can you put on the on that slide with the with the frame io and that software we yeah we slowly so everyone knows these those these tools right now but some of them were still like in some development like for instance was red shift we were starting on alpha testing it which was awesome because I think mark can agree with me because they were also picking on rescue so and it was like this windy situation okay guys let us know of any any bugs yeah break stuff please exactly everyone was like breaking stuff together at distance which is awesome hey mark can you hear me send me some smoke signals and that's the guys at redshift what did you do yeah exactly you just broke the system in the internet below the system and then so we were trying out some tools for instance one of the first tools that we used was frame io which was we didn't know about it but it was this great website too that to review whole clips all the editing you just go from one in and have basically some review tools etc. and every everyone could access it and just draw it over etc. for instance think sketch is a great tool just for animation you just upload a clip and you go along frame by frame et cetera for my own is the same but a little bit more in the big picture and then we had another cool tool which was meister task which was basically production following all the production like setting teams for which task we had people remember especially for me because that was super disorganized and people like hey Miguel did you go to myself desk and put the check on it I don't care with that you have to you have to give me an example you know but so and eventually just drove for other tools like discord and using Dropbox as a like mains core and main server which is we actually ditch the server at some point we had a lot of cycle redundant backups but I mean we know with no specific hardware was just disks uploading to back to Dropbox pointing to this and that but it worked I mean we're just testing out stuff and yeah so we were inventing as we go yeah exactly little did you know you were preparing for covet as well all these all these tools are now commonplace to you yeah yeah yeah yeah little did we know yeah we basically finished the short and then you went on to festival tours etc. and then covey just person yeah yeah everyone I mean you continued working during covid and so I’m sure that having being familiar with these tools and way of working was an advantage for you guys but a lot of your I mean your beautiful couple commercials that you've done they look like they're live action mixed with animation so it's not just all fully cg I mean how often do you I mean do you go on set and do your onset supervision and how did that change during covid were you able to go on set I guess that's it Guilherme and Miguel singers and you guys are the directors on those commercials yeah so right when we went into lockdown here in Portugal we had this new commercial starting let me just find that slides so I can show you there was this one time this one specifically here in Portugal oh yeah we went into law it was right about we're starting so many stuff okay it was a really freestyle presentation it was a really sorry go ahead because it had a lot of characters or a lot of big 3d scenarios and it had live action so we pretty much did about 98 of the commercial with everyone at home and then we had to go to the actual store to shoot the live action sequence it was it was a bit crazy because the shooting days actually shifted a lot because of all the prohibitions you know one day you could and shouldn't that you couldn't just go and that was the most difficult part in terms of production yeah and this was like the first real test with us as directors in all the animators everyone at home so for sure that the experience we had with the shorts was super valuable for sure yeah I remember I remember when we here in Portugal we went into walk down on may march the 16th and it was actually Friday I guess I remember it being end of the week we knew that by Monday yeah by Monday you should be home and not at work and people just took their work stations and just plugged them in somewhere else and 90 was done cool we did miss and I think we still missed we kind of miss the going over the shoulder and go hey have you tried that in pink dude I had no idea yeah let's try pink those kind of organic stuff just it's a lot harder to happen nowadays like I can see in our feedback but apart from that it was all set up and ready to go yeah I can play the new commercial if you want right yeah sure great so you started working with remote talent on the short is that something that you've continued with your commercial work or have you gone back to more of a Portuguese talent base yeah for sure we continue pretty much the same because we are still at home no one is at the studio we are completely free from the studio we just have some computers there to render or when we need it we need them with the short we actually ended up working with a lot of cool good Portuguese talent and so we always try to like have Portuguese you know in our teams I mean they are they are getting incredibly better day by day hour by hour I mean by the minute we were talking yeah it's going amazingly because but yeah of course whenever we need it's just it isn't just an obstacle now one of the projects that we actually go across we didn't show was from for the young bongo juice which was something that we can you just quickly go through that slide Vietnam so it was it was we put it here because it was important because it was the first commercial project that we actually tested out the new pipeline if you can call it that way so it's not that. and basically, in this project before Kobe we still managed to get like German animators and riggers to come here and basically they were bosses on Cinema 4d and kinda and kinda set the base and that and right now we just simply don't have to do it people realize there's no need to just overcome it's perfect for us in the sense that for each project we can cherry pick each artist for instance in this this commercial it had this very distinct style this 2d style like 2d illustration so we could choose the artist that better suit our needs so in this sense if we have the whole world to choose it's better yeah I have another question for you and I guess it can be an individual question for each of you if João's audio or speakers have stopped buzzing I don't know maybe not maybe not for strawberries and Miguel the video I’m sorry I think the video just started sorry oh no that's okay show the video that's more interesting than my question the background oh yeah okay go ahead thank you try can you hear me um ambition you went from doing commercials to creating your own shorts where does the future what does the future look like now what do you want to continue you did touch on it before about creating your own Ip and going more into the entertainment world alongside commercials how would you see yourself doing another short what is it that you see next at start number yeah for sure of course we left to do commercials but our dream is at least for me and Miguel it's to make a feature film so we are pursuing that that dream and we started with the shorts and we built all this new ip this universe all these characters etc. and you are trying to spin off to other products for instance a future tv show and yeah we also have other ideas that we want to try and develop but of course we still want to work as we've been doing in advertising so for now I think the future is to go both ways and see what we can do with great how about you Miguel what's this future look like for you very similar well I would love to go to the oven industry you remember we like we said we will talk about albany you know what I was going uh so yeah like lip seven of course by my injury my dream would be to make an animated feature film of course or some tv show or whatnot I love doing my job I just love it and of course doing for commercial work it's just about as good as as it gets in terms of in terms of like company etc. I think it is especially before after Kobe I think we just have no more boundaries I mean it's funny because I mean in terms of physics spaces and whatnot we having more and more boundaries when people can go to the city without certificates crazy but at least digitally we can go wherever we want and we are spreading out more easily and I I wouldn't really much like to just be able to spread out and say hey Portugal is a cool place to have bigger VFX studios or we can also do commercial work with anyone that's involved who I would love to as companies or as individuals I would love to be able to just collaborate with the other people and learn and learn what's there to be learned you know but yeah it's with the ultimate goal to have something of my own that just like the cherry on the top yeah and ovens and ovens go into the oven with trade oh yeah have this internal challenge that in which we try to have at least one frame with our logo on every single commercial we do really yeah like find the logo it's gonna be ovens from now on I guess yeah it's gonna be oven it's oven there's a floating oven in space so what about usual well how much does the future hold for you well I I I would like to see this blossom in in every single way and angle you can think of is and we we took the time and the money and the effort to do this crazy thing that we had as a desire as a team and I would like to keep pushing as we are right now and to bear fruit in some other routes and some other stuff and some avenues we're pursuing but I would really like us to have the kind of growth that we had in 13 years to have it felt properly in 13 more years I mean there's a lot of tools that we've changed our pipeline like maybe three times in 13 years maybe the fourth time is going to be like completely different maybe we're going to keep up with or a new technology is going to keep up with the commercial world and to allow us to do bespoke stuff on a technical level that we haven't thought of yet like everyone I think most people have seen though those making offs of Disney’s Mandalorian that sort of stuff in which we they use them mule engine and dynamic backgrounds and stuff so game engines for example they look cool they don't quite fit into I’d say a regular advertising pipeline as we speak but maybe that will happen yeah it's bound to I guess it's a matter of not if it's a matter of when and we have to look for that that point in space and time to be there but yeah whatever the future holds is gonna be pretty cool and we'll be here having fun as well great now no doubt no doubt you will be having fun that's not something I think is gonna happen today we have a question from Leonard Olivier and oh oh I’m so sorry to interrupt Charlie we just wanted to show this because we're talking about having fun yeah was talking about the different approaches yeah I’m sorry guys techniques and I remember this you did well this was something yeah it was about time that the short could see the latter day in terms of being public to everyone else after the festivals and so one thing that we were home with nothing to do of course we had a lot of things too but one of the things that we thought hey man do you want to make like this parody with dark characters and just have an Instagram account before don't feed these animals and hey by the way did you just watch the latest Trump talk show whatever interview I mean the interview what if he used the carrot spice funny one on his body you know let's try it how to see how fast we can produce this and like in in the few hours we managed to use this mocap (motion capture) data with eclipse iPhone he would send to me over the web he's recording I just made up a quite simple fast rig professional mockup and some tracking and we made this video which was like went viral it was just a blast with Trump's speech can you just play the first one and then we went on and just made another experiment with Simon’s movies like the silence of the lambs basic instinct etc. but let's just watch the first one which was having fun I mean we would laugh our asses off okay and you know there are those that say you can test too much you do know that who says that oh just read the manuals read the books manuals read the book read the books what books what testing does sorry wait a minute let we then we had to just carry on working because otherwise we would just do this you know having a business doing that yeah is there the behind the scenes or the final do you have it oh yeah we yeah too much yeah it's pretty self-explanatory so yeah it is yeah so it's just it's always interesting to watch these breakdowns especially when they mock him it was it was a great thing to do you know just went on and tried something that we had never done before yeah it was a mix of both getting some new points of interest for the short film or the and the characters themselves on one side and technical development on the other yeah I have forgotten about those actually as experiments I’ve got a couple of questions that we need to squeeze in in six minutes so this is kind of as a follow-up to what you were saying João about the new technologies and how technologies are evolving and becoming well especially over the last two years and the work of development that people have gone into the cloud and so that their remote working is more accessible to companies and that actually at a better cost point I mean how do you see the cloud playing more or less of a role in your setup as you scale well I don't think I’ll have the same role I mean it started as we do not have enough firepower because of the time variant or the money or whatever but currently and the past was weenie extra firepower so we would go on to GridMarkets and the cloud as a whole and get some friends back to us that helped a lot that's our current main need as a studio for the cloud just give us some more punch some a little more extra for this week that's our main news I see it for example I mentioned game mentions and there's a couple of services right now that stream games to your terminal so to speak like stadia from google and a couple of other ones from Nvidia I guess I can't remember I feel that that might help in in in having some sort of cloud visualization service and which either use their hardware as a real-time tool and you use a terminal because the data set or the amount of detail or operations that you want to do are so big that you even though you have a very powerful workstation you might you might want to offload some stuff and get images or stuff back to you like or for example working locally and then you just ship data and get it crunched back like what's the word Miguel like simulations for example while you work you have the club backing you up that's gonna happen a lot so and at this point I think we get frames from the cloud so to speak and we're going to get different kinds of data for the working process not the actual frame as the final result I think that's going to happen by the way just to interject that is something that markets is working on that vision you just laid out is something that we're preparing so okay you're you don't know it but you're gonna be one of our guinea pigs for this so again that's my mountain right hey Charlie we we have three minutes and we have a very patient person who asked a question so when we get to that and then we'll probably have to wrap up yes so what was the hardest thing to do animate in the shorts and or in one of your ads so that that's a big that's a tough question it's a big question probably the rendering of the shirt was really difficult because we were experienced experiencing with the new GPU render engine which we don't we didn't have any experience and we if we didn't have the help of GridMarkets and our nvm I don't know because we we took it took us about five months to render all the film and we had that help if you didn't have us probably we were still rendering by now yeah we you we make that joke sometimes we'd still be wrangling our own short film I think I can add to that question as well since Leonore asked specifically about I mean to do or animate one of the biggest issues like foreign point it was like a learning process it was also this place where we just we where we just made a lot of errors and mistakes and we just had to live with that because like we didn't we oh we planned it but there were so many problems like in terms of rigging and that those technical situations that we didn't were weren't able to solve after so have a lot of problems with like hair doing in animating the hair of the of the rabbits all these kind of little technical things that you don't see on an animation but they would be so much better if we had like time and we would we do it the whole thing right now you know in terms of regaining etc. this is very hard but it's really like nerdy stuff to talk about right here I love the nerdy stuff but I think we're going to have to go on to our last slide this session for everyone is something if you want to share it with anyone that has been recorded and it's on with forward slash webinars and a reminder that what mark spoke about before and that if you want to sign up for a free trial or free market you can and the promo code is 2021 June 29 webinar and the next webinar next exciting webinar is with the wonderful Alps VFX with the founder Filippo Robino who has worked on films such as Gemini man Spiderman axel man all the mans apparently he made a game of thrones guardians of the galaxy and he has now started his own company and BFX facility which has grown hugely over the last year in his hometown of spring in Italy so we're going to be hearing his story on July and then we have oracle if you want to learn more about oracle please go to for security any questions at support to end this thank you so much for sharing your story and your shorts it's been a real pleasure for me personally to get to know you guys thank you so much for attending thank you to Mark ben Miguel João and Guilherme Miguel I think I’ve said everyone's name and I hope you have a lovely evening or rest your day depending on what part of the world you are in thank you thanks everyone thank you thank you it's a pleasure.

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