This required hundreds of unique buildings to be modelled, textured and lit. The Imageworks’ team created a fully digital version of New York City’s 6th Avenue and the surrounding several blocks. This allows the python proficient artists to automate their workflows as much as possible, so they can create intuitive and Katana like user interfaces for their pipelines with macros and live groups.” 6th Avenue heartache
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The scripting module allows full access to the tiniest bits of Katana's inner workings through its API, while the attribute script node can handle any scripting and automation that is dependent on the incoming scene data. It provides an automated way of pulling in all the bits needed, while allowing a seasoned artist to easily ‘pop open the hood’ for deeper exploration and customization - either through a node network via its built in python module or C++ plugins for heavy lifting. “A novice in Katana can and usually does start lighting on their first day of use. One of the misconceptions around Katana is that it requires a steep learning curve, but Orde is quick to lay that to rest. Katana allows people with various skill sets and understandings of the inner workings to be proficient in performing their daily duties of lighting CG objects.” “We all know that as artists we crave intuitive tools that don't stand in our way and help us visualize and execute the ideas we have. “With its non-linear, non-destructive design, Katana comes as close as possible to a thought process,” he says. Orde describes Katana as much more than a lighting tool and is a big advocate for its benefits.
As the show compositing lead, Orde was also responsible for the compositing pipeline in addition to developing Katana to Nuke integration tools and supporting all of the compositing artists that worked on the show. Under the close watch of Nick Loy, the team was responsible for the look development of the main villain in the film, The Lizard. Orde Stevanoski was the show compositing lead and sequence lead for a team of 25 artists on The Amazing Spider-Man. Nick was the look development lead on the film and had heavy involvement with the look development of The Lizard character. Nick Loy was one of the first artists to be crewed to The Amazing Spider-Man, and worked on the show and its various incarnations over the past two and a half years. As films continue to push the boundaries there is a real demand for tools that work smoothly for high-end production use, enabling artists to achieve that “never-before-seen” look and achieve high end results. It’s also designed to enable creative freedom. Katana is about allowing artists to manage the consistency of lighting and increasing complexity of their shots. Katana is one of the key tools used on the project and dealt with all of SPI’s look development and lighting needs. Stand out VFX talking points of this version are the scale of the setting (an entirely CGI generated New York City), as well as the creation of both the CG Spider-Man character and his nemesis, The Lizard. In total the film features a whopping 1,639 visual effects shots of which SPI undertook nearly 700. Interestingly this was also SPI’s first native stereo feature film and was very much designed to push and play with the limitations of the stereo format. The overall Visual Effects Supervisor on the film was Sony Pictures Imageworks' (SPI) Jerome Chen whose previous credits include Godzilla and Contact.
While his feature film showreel is singular, he is in fact a seasoned music video director with more than 70 videos under his belt. Marc Webb is no stranger to visual storytelling. Visually this film takes a lot of what was great about the previous films and adds a level of detail, playfulness and realism that really sets it aside as something totally new. Director Marc Webb brings the comic sensibility akin to his previous hit indie breakout comedy (500) Days of Summer and combines it into an action packed classic Hollywood tale of teen angst turned superhero.
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