News

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Variety: Flags of Our Fathers - Manufactured Marines follow digital orders

Tuesday 12 December 2006

Nearly a century after D.W. Griffith’s primer, visual f/x artists have finally caught up with the most impressive feat of classic Hollywood epics, the "cast of thousands" – only now, crowd scenes don’t need an actual crowd.

Massive Software Adoption Increases Among Established and Boutique VFX Facilities

Thursday 7 December 2006

Massive Software, the leading developer of artificial life–based 3D animation systems, announced today multiple customer wins across visual effects, animation and post-production houses from London to Los Angeles to India. More and more companies are discovering that epic levels of CG animation can be created with limited resources, and many of them are achieving this with the out–of–the–box functionality of Massive.

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Massive Software Deployed at UK’s Bournemouth University National Centre for Animation

Wednesday 15 November 2006

Massive Software, the industry’s premiere developer of autonomous agent 3D animation systems, has entered into an educational partnership with Bournemouth University.

Bournemouth University’s National Centre for Computer Animation, the top animation school in the UK, will be the first university in the United Kingdom to integrate Massive software and training curricula into its animation course–load. Bournemouth acquired over fifty Massive Prime licenses via Massive's educational program, and will provide training on the system to undergraduate and graduate–level students.

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Producers Guild of America & The Hollywood Reporter Honor Massive Software Principal Stephen Regelous

Thursday 19 October 2006

The Producers Guild of America (PGA) and The Hollywood Reporter acknowledge Massive Software founder Stephen Regelous as one of the Top 50 New Media Producers and Innovators in the realm of digital storytelling. The list, published in the October 19th issue of The Hollywood Reporter, reflects the industry’s most talented leaders in digital media.

The list includes heavy hitters in seven categories: Animation, Broadband, DVD, Games, iTV, Mobile and Visual Effects. The Hollywood Reporter and the Producers Guild of America New Media Council jointly came up with more than 100 nominees. The results were then voted on to determine the 50 finalists.

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LA Times Article: A Mind of Their Own

Friday 28 July 2006

Lucas is terrified. The boy has water-bombed an ant colony. Now, he’s being hauled before the Ant Queen.

Pointing and nodding, some 2,000 angry ants watch closely, flexing their mandibles and twitching their antennae. Still others are shaking their heads and chatting among themselves until a loud gong brings them to silence.

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Rhythm & Hues Revs Up Visual Effects with Massive for The Fast & the Furious: Tokyo Drift

Monday 19 June 2006

Massive Software, developer of the Academy Award–winning Massive artificial life–based 3D animation system, announced that Rhythm & Hues continues to drive innovation with Massive with visual effects for the motion picture The Fast & the Furious: Tokyo Drift (Universal Pictures). The work follows on the heels of Rhythm & Hues’ epic visual effects for The Chronicles of Narnia: The Lion, the Witch and the Wardrobe and saw the facility extending its command of Massive to meet such diverse new challenges as digitally creating Tokyo street scenes.

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VFX Facilities Create Mayhem with Massive for X-Men: The Last Stand

Wednesday 7 June 2006

Massive Software announced that its Academy Award–winning artificial life–based 3D animation system has been used by visual effects companies Framestore CFC and WETA Digital for the new X-Men movie X-Men: The Last Stand (Twentieth Century Fox). With Massive, visual effects studios can animate anywhere from a few to a few hundred thousand realistically responding digital characters, helping artists and animators tackle ever more ambitious effects challenges and scenes, such as those seen in X3.

Both Framestore CFC and WETA Digital used Massive to craft scenes of mayhem in the Brett Ratner–directed movie, which sees war breaking out after a cure for mutant genes is found.

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Massive Software Used to Create Visual Effects for Poseidon

Wednesday 17 May 2006

Massive Software announced that the company's Massive artificial life–driven animation system has been used by CIS Hollywood to produce digital visual effects for the motion picture Poseidon (Warner Bros.). Massive’s Academy Award–winning technology helps filmmakers and VFX artists push the realm of possibility by allowing scenes and stunts to be achieved with autonomously responding virtual characters. Other recent uses of Massive include epic–level CG animation for The Chronicles of Narnia: The Lion, the Witch and the Wardrobe and King Kong.

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Massive Software Goes Primetime with Television Effects by CBS Digital

Friday 21 April 2006

Massive Software announced today adoption of the company's Academy Award-winning 3D animation system for primetime television series effects. CBS Digital recently purchased Massive, embracing the artificial life-based software to speed turnaround of increasingly complex visual effects scenes on a primetime show.

CBS Digital has been using Massive on "The Twelfth Man" (a pilot being produced for FOX Television) as well such projects as "Category 7: The End of the World" and "Pope John Paul II." Artists at the Los Angeles, CA, studio sought out the unique "autonomous agent" capabilities of Massive to efficiently fill large stadiums with realistic AI-enabled-characters for the basketball-themed show.

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Method Studios Rouses Fans with Massive Software on Super Bowl XL Commercial "The Wave" for Budweiser

Monday 6 February 2006

Massive Software announced that Method Studios has tapped into the company’s artificial intelligence-based 3D animation system to bring a new ad for Budweiser to life. Creative treatment for Anheuser-Busch's "The Wave" which debuted during Super Bowl XL, centers on messages being spelled out on a sea of cards held by an arena crowd, which was created using some 97,000 virtual Massive characters. Seen from above, one side of the stadium builds the picture of a Budweiser bottle while the other side forms an empty glass. By doing the "wave", they "pour" the beer into the glass and then "drink" it back down to empty. "We wouldn’t have tackled this job without Massive," said Andrew Bell, technical director, Method Studios. "It would have been difficult to do using traditional techniques"

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