NOVEDGE blog

Grab this Kinemac Special! Best Value on Animation for Mac

For this week only we're having a special on Kinemac: only $124

For this week only we're having a special on Kinemac -- half price! Kinemac runs on Macs and is a powerful and easy-to-use 3D real-time animation and presentation software. If you're in the market for a Mac animation product at an extremely attractive price, or are looking specifically for a great deal on Kinemac, this is the time to buy. At only $124 per copy you should take advantage of this opportunity that will only last one week.

Cristiano Sacchi

Interview with Lorenzo Puleo, CEO and Founder of Kinemac

Lorenzo Puleo is one of the many creative people who fell in love with Mac. However Lorenzo didn't stop at the user level as most Mac fans do, he went on to conceive a new product and created a company around it. That company shares the name of its main product and is called Kinemac (website).
Kinemac is an easy to use real time animation software for the Mac platform. It combines the ease-of-use typical of so many Mac applications with the power of a professional tool. Novedge is a proud reseller of Kinemac since 2008. I asked Lorenzo to share with us his story and vision. Here is the interview.

Lorenzo can you tell us a bit about yourself and your company?

my greatest dream: creating a 3D animation for the Mac users

I am originally architect migrated to the informatics in 1996. Kinemac is a company I have founded to realize my greatest dream: creating a 3D animation software for the Mac users community. And looking at the results, we succeeded.

The Mac platform is the favorite of creative people. Can you help us understand why?

Mac is not just a computer, it’s a lifestyle

Mac is not just a computer, it’s a lifestyle, a philosophy which perfectly joins math and art. Left brain and right brain think differently. Mac, introducing an intuitive approach to the schematic (but powerful) world of the math, merges them together. That, I suppose, is the secret of the success of the Mac platform in the creative area.

Video and animation are now mainstream on the Internet, an area inundated with amateurs. How much room is there for serious professionals?

to be a pro you need to study more than just being creative

I wouldn’t mix holy and profane. There is an amateurs’ world which could easily find a land on the internet. There is a professional world which daily needs professional tools and skilled artists. I think they speak different languages. I recall these lyrics from the US3 group: “Different rhythm, different people”. I think that professional works like this one from the Tronic Studio can never be put together with amateurs’ works. To be professional you need to study more than being just creative. Furthermore you need powerful tools too. Amateurs could be successful, make a lot of money and get famous too, but this doesn’t mean they are pro. Surely there are exceptions.

Who is your typical user of Kinemac? How does he or she use the program?

Kinemac is in between the consumer and the professional world

We gather users from the pro-sumer world. This means that Kinemac is in between the consumer and the professional world. While offering professional results it can be easily learnt and used by professional and non professional users. We have different profiles of users, we have beginners, single video-artists, small post-production companies, schools and universities, research labs and big companies as international TVs and post-production companies. We have conquered many big names in these last areas, but as you know well, we can’t mention any of them.

What is your strategy for raising awareness of your product and the benefits that come from using it?

Kinemac is one of the most popular 3D Real Time Animation software for MacOS X

We have spread the word of Kinemac in many ways, from exhibiting at the MacWorld SF to releasing articles, interviews, and tutorials. Lately we have granted our product in special bundles which have had a great impact on the Mac community. Today we can surely say that Kinemac is one of the most popular 3D Real Time Animation software for Mac OS X. And everybody loves it. As far as the educational world, we have successfully reached a great goal. We apply special discounts to schools and universities and in change, spontaneously, we get a lot of precious feedback which help us to improve our product in an impressive way.

The new generation browsers will implement video as a native type of data, in the the same way as images and text. What could be the impact of such an important change for video and animation producers and consumers?

Surely the demand of tools to produce video will grow largely. We expect to grow as well. And we are ready for the event. But the day the browsers will implement a standard 3D engine is still far. Let’s see what the future will bring.

What is the geographical distribution of your business and how different are the European and American markets?

we have clients all over the world

We mostly sell over the Internet, so we have clients all over the world. This is the way we look at the market: as one nation.
It could be surprising, but the clients have all the same requirements, no matter the country they live. And this sounds promising.

I would like to thank Lorenzo for taking the time to answer my questions. If you have any questions for Lorenzo or for Novedge, please leave a comment below and we will be glad to answer.

Franco Folini

Kinemac Video Tutorials
Kinemac products are available from Novedge

An Interview with George Cawood, Framework Studio Owner

George Cawood is the founder and owner of Framework Studio, a design and production company located in Culver City, CA. George's company produces trailers, main title sequences, and visual effects for a variety of feature films, television shows, music videos, and commercials. FrameWork Studio is an advanced user of Maxon Cinema 4D and therefore the best candidate to get first hand, professional feedback on this powerful modeling, animation, and rendering software. I asked George a few questions regarding his professional activities in the movie world and about his company experience as a C4D user. Here is the interview.

George, can you tell us a bit about yourself and your professional activities?

I now operate my own graphic design, visual effects, and production company

I grew up in Northern California and studied film at UCSD. For the past decade or so, I’ve worked primarily in film advertising under the various titles of editor, producer, writer, and art director on campaigns ranging from Jerry Maguire to Ironman. In 2004, I directed a feature titled Homecoming, which found a home on PBS. I now operate my own graphic design, visual effects, and production company, Framework Studio. We produce trailers, main title sequences, and visual effects for a variety of feature films, television shows, music videos, and commercials. You can check us out at www.frameworkla.com.

Many people coming from the design area are surprised to learn that in the DCC area it is common to use several competitive software packages. Can you explain why that is?

our projects usually need several different types of software

Every software vendor has an area they want to focus their product on, tailoring it for specific strengths and technologies. Our projects usually need several different types of software, depending on our creative goals, the problems we might face during the design process, plus wanting the best end result while meeting deadline and budget.

Your studio is an advanced user of Cinema 4D. Can you tell us on which specific tasks does Cinema 4D excel, and what is your feedback as a user?

designers generally consider C4D to have an easy learning curve

We use Cinema 4D mainly for typography design, broadcast design production and trailer graphics. The animation timeline, MoGraph module, and speedy rendering make it the default tool for our daily 3D needs. Our designers generally consider Cinema 4D to have an easy learning curve, similar to After Effects. Plus, integrating Cinema 4D into Maya and After Effects pipelines is easy. Also, the freelance pool has more and more designers listing C4D as their tool of choice for 3D, which makes it easy to find talented people when the deadline approaches.

What is your creative/artistic company contribution from the specifications you receive from the movie product to the release of the final product?

From concept to completion, we do it all!

From concept to completion, we do it all!  We usually meet with our clients first, and then start the creative process with style frames and storyboards.  We build our internal creative and design team, while working with our clients on approvals and deadlines until everyone is happy.  Some projects take a few days, others a few months.

Can you give me a rough idea of the amount of computational and human resources work that goes into an average title sequence?

It depends on the project, but we brainstorm using anything from paper drawings, the internet, books or trade journals for reference materials, while keeping in mind our client’s guidelines. Whether it’s 3D, film rendering, animation or broadcast design, each job is handled a little different.

How do you draw the line between creativity and technique in your professional activities?

Budget and time is always a factor, but we know and work well with our clients and always try to have a creative, but efficient strategy for each project.

What kind of interaction do you have with the Cinema 4D community?

Little to none, except when troubleshooting or scouting for freelancers.  It’s great to see what others are creating, but there hasn’t been much downtime lately.

How do you train people on a specific software platform? Do you use online training, training CDs and DVDs, or training classes?

All of the above. We try to use a variety of training techniques and each designer has their favorites. Most use Cineversity & Lynda.com.

I would like to thank George Cawood for taking the time to answer my questions. A special thanks to Fawn Shoemaker and Cristina Rodriguez for helping me to organize this interview. If you have any questions for George or for Novedge, please leave a comment below and we will be glad to answer.

Franco Folini

An Interview with Dan Ablan, 3D Guru and Writer

Daniel Ablan is a well known 3D computer graphics expert and writer. He is the author of several books about Newtek LightWave, Luxology Modo, and digital photography and cinematography. Dan heads two businesses: AGA Digital Studios, a professional services and training company, and 3DGarage.com, which produces and sells training DVDs. Knowing Dan through Novedge, I couldn't resist asking him a few questions about his professional activities and the future of 3D computer graphics. Here is the interview.

Daniel can you tell us a bit about yourself and your professional activities?

I've been working in the creative arts since the late 1980's

I've been working in the creative arts since college in the late 1980's. I originally started out as a photojournalism major, but ended up minoring in that and majoring in broadcast journalism. In 1989, I was introduced to a Video Toaster from NewTek, and LightWave 3D. I loved it. I began emerging myself into 3D and in 1994, began working full time for myself. It's now 14 years later, and AGA Digital Studios, Inc. creates 3D animations for major corporate and industrial clients. We've also branched off into a comprehensive training division, 3D Garage.com, in 2003. 2007 and beyond will see more 3D animations and even more 3D Garage training videos.

You have been in the 3D computer graphics and DCC (Digital Content Creation) since the Amiga time. In all those years what was the most unexpected evolution that you would never have envisioned? On the other hand, what aspect of technology didn't reach the level of your expectations?

today, you can render entire animations in 10 minutes on computers that cost less than $1,000

I think overall, the progression of technology has been surprising. It wasn't too long ago that burning your own CDs was extremely costly and problematic. Today, anyone can buy a computer, burn their own CDs as well as DVDs. Beyond that, the advancement of OpenGL technology has been amazing, alongside the speed and power increases of the desktop computer.
In my first few years of 3D, rendering a full broadcast resolution frame with just hard shadows, no reflections, refraction or complex bump maps took 10 minutes a frame or more. Today, you can render entire animations in 10 minutes on computers that cost less than $1000. I'm surprised that real time rendering has not become more available however. It seems that as fast as computing technology progresses, software makers find more advanced techniques to test the boundaries of our systems.

The continuous increase of power available on our desktop computers is making possible new approaches to rendering based on the simulation of light (e.g. Maxwell Render and fryrender). What do you think of these new tools? Do you believe that the quality of results justifies the time required to generate a single image?

I'd have to say yes. Think about it - could we even consider rendering a full animation with global illumination just a few years ago? The realism we can achieve with a little extra time is astounding. I'm all for it.

Every day, people excited about some beautiful rendering image come to Novedge asking for the best software tool for modeling and rendering. How would you recommend selecting a 3D system for someone that is approaching it for the first time?

the simplest, cheapest processor is more than fine for anyone starting out in 3D. The key is RAM

People over due it with processors. The simplest, cheapest processor is more than fine for anyone starting out in 3D. The key is RAM. Most people never put enough RAM into their system, opting to "upgrade later" and sell out to the salesman pitching the latest from Intel or AMD. I've always told people to get a decent system with as much memory as they can afford, 2Gigs, 4Gigs, or more better 16Gigs! From there, the video card is crucial. The advent of PC gaming in the 1990's has helped all 3D animators by bringing cheaper and faster video cards to the market. That of course has bled over to Mac as well. Just about any ATI or nVidia 256 MB card will be more than fine for someone starting out in 3D - and beyond.

Can you tell how you collect and organize all the material for a new book or a new training video?

Generally, it's in my head. I start the project and take notes along the way. Lately however, with so much going on, I tend to make lists. I've got a note taking program I use on my MacBook Pro where I keep ideas, project lists, and so on for new training videos and book content.

Many of the technologies powering today's DCC systems are considered mature. In what areas can and should those technologies improve in order to fully empower the end-user?

Well, like anything technology related, I guess it would come down to: faster, better, cheaper!

You produced training material in the form of books and videos. Are you working on any new training? When do you recommend a book and when video training?

Books vs. Videos: that's really up to the user on how they like to learn

Yes. There's lots in the works. I have a few major animation projects going on right now, so I can't add to the training library until July. Books vs. Videos - that's really up to the user on how they like to learn. I like books because I can get away from the computer, read up on the software, then go try it out. Also, videos are often just a demo of the software. Many people "know" their software, they just can't teach it. A book usually has multiple editors who scrutinize over content, flow, and so on. Both are good mediums, and each has their place.

Do you think that new technologies like the one used by Luxology Modo (Polygon/Subdivision Surface Modeler) could ever replace the more "traditional" geometric modeling used by all mechanical design tools?

Replace? Who knows. But, if you take a look at the CAD programs of today, they're not adding more design tools, as much as they are more ways to light and render. That's the next step for anyone building 3D models - so it would make sense that companies employ Luxology's modo and it's excellent render engine to generate imagery. Time will tell!

I would like to thank Dan Ablan for speaking with me today. If you have any questions for Dan or for Novedge, please leave a comment below and we will be glad to answer.

Franco Folini

An Interview with Paul Babb, CEO of Maxon (Cinema 4D)

Paul Babb is the CEO of MAXON US, the company that makes the famous Cinema 4D modeling, rendering, and animation products. Based on my experience I can say that every company and product has its own personality. Whenever I have the opportunity to talk with a Cinema 4D user about their experience with the product, I can "feel" the personality of Maxon software: powerful and easy to use. This is not the side effect of a lucky sequence of events, but the result of the vision and strategy of the person leading the company. This person is Paul Babb. This interview is a great opportunity to know more about Paul and the company he heads.

Paul, can you tell us a bit about yourself and your company?

my first introduction to 3D was as the Product Marketing Manager for ElectricImage

Myself: California born and bred (except for a short stint in New York). I earned a Bachelor of Arts degree from the University of California at Santa Barbara and my Master's Degree from the University of California at Los Angeles. After school, I worked in marketing and advertising. My first introduction to 3D was as the Product Marketing Manager for ElectricImage. In 1997, working with MAXON in Germany, I introduced CINEMA 4D to the North American market. In October 1998, with the parent company I founded MAXON USA to better serve the North and South American markets.

Company: MAXON was started in Germany in 1985. The company originally developed instructional computer books and magazines. Soon, this translated into publishing software packages. In 1991, two programming brothers brought a raytracing product for the Amiga to MAXON. This was the first incarnation of CINEMA 4D and was originally released as "Fast Ray". Everyone saw great potential for the product and so it was decided to invest more energy into its further development. After two years of R&D, the first version of CINEMA 4D, now a full featured 3D application, was released. In 1998, CINEMA 4D was released, completely re-architectured to be platform independent, modular, and designed for fast, efficient development.
The latest film projects to feature CINEMA 4D include Spider-Man 3, Surf's Up, Ghost Rider, Open Season, Pirates of the Caribbean: Dead Man's Chest, Monster House, Eragon, Superman Returns, The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe. In broadcast: Wheel of Fortune, Jeopardy, and the On-Air Packages for Comedy Central, Monday Night Football, ESPN, NFL Network, TiVO, NBC, DirecTV, CBS NFL, Fox and many more.

Maxon is a very well-known name in the movie industry. How did a young and relatively small company like Maxon manage to became so popular?

it's our pro-customer service philosophy that makes us a standout in this industry

First credit has to go to our programming team for developing a product that is powerful, comparatively easy to use, is fast in workflow and rendering, and integrates well into any production pipeline. Secondly, I'd say it's our pro-customer service philosophy that makes us a standout in this industry.
So our product is developed in a way that makes it easy for the artist to succeed, and on the service side we focus on providing the support and resources artists need to succeed.

Cinema 4D is recognized as one of the most easy 3D systems to use. Can you tell us in which ways you worked to achieve simplicity while supporting complex features?
Again, the credit here goes to the developers. While building CINEMA 4D in a modular fashion makes the development process easier and more efficient for the programmers, it also provides lines of delineation for the user. On the interface side, the bread and butter of 3D is right at your fingertips - the more complex features are there if you want to dig deeper. Many features are accessed via user defined "levels of detail". For instance, when using Sketch and Toon (our non-photorealistic rendering engine), users are offered dozens of presets to choose from. If a user wants more control, a simple pull down menu provides access to additional controls over the style and type of rendering that can be done. Choosing "Simple" offers only basic manipulation, "Intermediate" a bit more control and "Advanced" reveals control over every aspect of the renderer and results.

Movie productions usually work with several, apparently competing, software packages. In which stage of their process do they use Cinema 4D and why?

no 3D package can be everything to every artist

"Apparently competing" is a great way of putting it. As far as I am concerned, CINEMA 4D is just another tool in the production pipeline. I don't think of MAXON as competing - I believe it is our job to make sure our tool plugs into any pipeline regardless of what other software packages they are using. It is our job to make it easy for the artist to succeed. That means recognizing that artists use many tools to complete their task, and not only accepting your role in that pipeline, but excelling at it.
For years, I've been baffled by the competitive nature of other 3D developers. Every 3D package has its strengths and weaknesses. No 3D package can be everything to every artist. I believe that way of thinking only creates problems for the artists. It's our job to make their job easier.
That being said, in the film industry, the main areas where our products offer an advantage for artists is, CINEMA 4D for creating 3D digital environments and BodyPaint 3D for 3D texturing. Our products are also used for special effects, character animation, etc., etc. but these are two areas in motion pictures where we excel.
In the broadcast or motion graphics market, CINEMA 4D stands alone. Our speedy workflow and ease of use makes it the only choice for motion graphics. In this case an artist may be bringing in an Illustrator file to create a 3D version of their client's logo. The artist would then create the structure of the scene in 3D and render out layers and 3D elements to their 3D compositing package (After Effects, Motion, Shake, Final Cut Pro, etc.). Again, it's the ease, fast workflow and integration where we excel.

What is your current strategy for design and manufacturing?
You're going to get tired of hearing it but, "integration". Make it as easy as possible for artists to bring assets in and out of CINEMA 4D to accomplish the work they want to achieve. Use CINEMA 4D where it provides them an advantage and integrate with other tools that help them succeed.

Several online communities orbit around Maxon and Maxon products. What is your company’s relationship with these communities and what is their influence on your products?

we are constantly monitoring forums and keeping track of the support calls

Community support is what helps animators succeed, so we try to support them as much as we can. The professionals that contribute to those forums are an invaluable resource for both MAXON and other users.
Community is one of the reasons we started Cineversity here in the states - to provide more resources for users to succeed.
As far as influence on the development of our products - we are constantly monitoring forums and keeping track of the support calls that come into our offices. This is invaluable information when it comes to knowing what we can do to improve our products.

In the future, do you plan to expand Maxon to a wider market, or to increase your presence in your current market?
Both.  ;-) 
Again, we are just another "paint brush" in the artist's toolset. I want CINEMA 4D to provide value they can't get anywhere else and for it to be as easy as possible for an artist to plug us into their pipeline.

I would like to thank Paul Babb for taking the time to speak with me today. If you have any questions for Paul or for Novedge, please leave a comment below and we will be glad to answer.

Franco Folini