Miguel Monteagudo

Bria AI has expanded its Pro-Creative AI platform with new integrations, including support for Toon Boom, plus additional partnerships with creative software providers. The update embeds generative AI into professional production tools while emphasizing brand consistency, responsible AI usage, and enterprise-grade compliance. Learn what it changes for creative workflows: https://lnkd.in/dCzzkBpC #GenerativeAI #Animation #CreativeTech #MarTech #EnterpriseSoftware

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Check out the latest Weekly Wrangle interview with Tidals Chan - FX artist for Path of Exile at Grinding Gear Games. In this, we talk about gamedev, Tidals story, and how to align your skills for success if you're interested in making real time vfx. https://lnkd.in/g4CjWQ5X #sidefx #vfx #poe2 #3d #cgi #animation

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AI Generated Video is No Longer the Future—It's Now. Netflix recently released a film built entirely with AI-generated visuals, cutting production costs by 90% and slashing production time in half. Runway just unveiled Act-Two, their most advanced motion capture yet—supporting hand and upper body tracking with expressive character control. In a time when the bicycle industry is tightening budgets—fewer trade shows, reduced travel, and less live content production—AI video generation is becoming a game-changer. At Accord, we're closely watching how these technologies can optimize storytelling, reduce campaign costs, and accelerate go-to-market timelines. From marketing videos and product animations to explainer clips and social campaigns—AI is reshaping what’s possible. Let’s embrace it, not fear it.

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I keep seeing some puzzling hot-takes from “VR news” outlets about the newly announced Steam Frame. Things like: “Greyscale passthrough is a missed opportunity.” “Resolution isn’t pushing the envelope.” “No OLED? Not next-gen enough.” To me, that misses the bigger picture completely. Valve isn’t just dropping another headset. They’re building out a coherent PC gaming ecosystem that connects Steam Deck, desktop PCs, and now Steam Frame into one continuous experience. A streaming-first, wireless headset that can run VR and traditional games locally on SteamOS/Arm, or stream them from a PC over dedicated 6 GHz, is a strategic move, not a spec sheet stunt. When you look at the design through that lens, some of the “complaints” start to look more like deliberate trade-offs: Greyscale passthrough & camera setup: Four mono cameras plus IR sensors are great for tracking and basic spatial awareness without overcomplicating the hardware or driving up cost and compute. This is a gaming device first, not an MR demo platform. Resolution & panel choice: 2160×2160 per eye with good lenses and a focus on stable, low-latency wireless streaming hits a very sensible sweet spot for PCVR. Chasing “spec flex” for marketing doesn’t help much if it compromises performance, thermals, or price. Streaming-first architecture: Foveated streaming and the dedicated wireless adapter are about making your existing PC and Steam library feel frictionless in VR, not shipping a sealed mobile console with a store on top. One thing I really appreciate: Valve is very explicitly saying the quiet part out loud. The goal is to increase the value of your Steam library and give you “a new way to play your entire Steam library,” not lock you into a walled garden or a vague “metaverse” vision. As a VR game developer, that clarity matters a lot. It means: I can design for PC-class experiences without pretending a mobile SoC is something it isn’t. I’m building for an ecosystem where games are the hero, not avatars, not social graphs, not ad real estate. There’s a strong incentive to create deep, replayable titles that live alongside the rest of someone’s Steam library, not disposable content. That’s exactly the kind of environment I want to ship VR games into. Because of that, our upcoming co-op VR dungeon crawler “Into The Light” is planning to treat Steam Frame as a first-class target platform from day one. We’re designing with PCVR in mind anyway; Valve giving that segment a focused, modern headset is a huge win in my book.

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David Galindo Munoz shares his tips for 2D animation. From bouncing balls to characters, blinking, cat animation and more advices to help you practice animation. https://lnkd.in/efPXxmY2

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Stoked to be speaking at Epic Games Unreal Fest Orlando next week. Going to have some fun with lens, cameras, lighting, scanning and some good cinematography tech workflows in UE5. At Unreal Fest, Jim Geduldick, Visual Effects & Virtual Production Supervisor at Spaceboy Labs, an Unreal Engine Service Partner, will walk through practical workflows that bring production design, lighting, camera, and art departments into the real-time process using Unreal Engine 5. His session, “Crafting the Look: Virtual Cinematography in UE5,” happens on June 4 at 4:45 PM ET in South Session Room 2, and focuses on how to create digital twins of sets, lights, and lenses to visualize and refine the look of a scene before you’re on set. Jim will also share how tools like Twinmotion, RealityCapture, and Fab fit into collaborative pipelines across departments. If you’re working in film, episodic, or game, and especially if you're blending physical and digital production, this session is a must. Unreal Engine Twinmotion Capturing Reality Fab #EpicGames #UnrealEngine #UnrealFest #cinematography #cinemalens #virtualcinematography #virtualproduction #filmmaking #UE5 #TV #VFX #Animation

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When artists integrate AI into their workflow, they can either use Additive or Subtractive AI workflows. With Subtractive AI workflows you create a large swathe of different content. And curate it down to the few items that most closely represent what you may have been going for. With Additive AI, you start from some piece of media, be it a storyboard, concept art, photography or something else that already has a large amount of intentionality behind it. And iterate upwards from there. In my view, both are valid. But Additive workflows are the best for total creative control, resulting in media that is precisely what the artist intended. This is an example of an Additive AI workflow. I start with a clear idea of my character. He's a half Maori head of a security firm. Battle hardened, but from a sophisticated social class. I start by drawing and describing the character and his backstory. I then enhance this drawing in the storyboard mode to speed up the rest of this workflow (optional) And then in Cinematography mode, I bring the character up to a final character sheet. Along the way there were many iterations - over 30 paint overs and modifications, but I'm happy with the result and ready to start filming. Filming itself is done using an AR camera in real or virtual environments, and directed using natural language. Eg. "Mate, can you give it a little more intensity? There's more at stake". You can also use a real actor to drive these performances. This was done in LiveMind Aperture. I'll share more workflows soon.

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StudioBDC is using AI much like Space Jam (1996, dir. Joe Pytka) used early digital compositing to find new ways to bring imagination to life. We’re experimenting with tools that help stories take shape and edits feel effortless, always keeping creativity, curiosity, and collaboration at the center of our work! #StudioBDC #AIMonday #Filmmaking #PostProduction #CreativeTechnology

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We’ve all got a bit of a sweet tooth 🍫🙂 Continued exploration into wrangling a few AI models to gain control of timing, pacing, framing etc. This time leaning less into proxy cg for control and limiting approach to prompt and imagery based to work out best options and ways to optimize.

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"Your Texture Map Can’t Save a Bad UV Layout." Even the most detailed textures will look like garbage if your UVs are messy. You finish sculpting. Your textures are sharp. But when you render it… ⚠️ Stretched, pixelated, weird seams. Sound familiar?? Here’s what bad UVs do to your work: -Distorted surface details -Blurry projections -Visible seams in lighting passes -Extra work in compositing 👎 It’s not just ugly — it’s unprofessional. ✅ Here are some UV Layout Tips for CG Artists: -Keep uniform texel density -Optimize UV space: less empty gaps -Use logical seam placement (under arms, back of head, etc.) -Use straightened UV islands where possible -Check your maps on a checker pattern BEFORE texturing 📐 Also Learn UDIMs for high-res detail :)  Great UVs = Professional results. You’ll get: -Cleaner textures -Accurate details -Faster approvals from leads and clients -A pipeline-ready asset Follow for more tips and breakdowns : Nandha Kumar.R #Happy3Ding #revolvisionfx #revolvisionacademy

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For 16 years Greyscalegorilla has been creating tools, training, and high quality assets with one mission… Help 3D artists create their best work. I love to hear the stories from our members and community over the years about how Greyscalegorilla has played a part in building careers in 3D. But, this industry asks a lot from artists. You are expected to recreate entire worlds, make them look realistic, and get it all done on time and on budget. This industry has come a long way, but there is still SO much more that can be done to make 3D creation process more seamless, more fun, and more intuitive to artists. It’s with all this in mind that we are so excited to make this announcement. Greyscalegorilla is merging together with our longtime friends at KitBash3D to build the future of 3D tools and assets together. We are huge admirers of KitBash3D’s commitment to helping artists create realistic 3D worlds with best in class assets. They have done so much to help bring their mission to many different industries and 3D artists with their incredible Cargo tech. We have been friends and peers with KitBash3D for many years, and have always shared a similar mission and commitment to 3D artists. Together, we know that we can do even more to help artists create their vision without all the complication and mess that 3D can often bring. If you are reading this, then I wanted to thank you for being a part of this journey. We create everything we do for artists just like you. We are excited to continue and grow our mission to create the best tools and assets for 3D artists available anywhere. Two brands. One company. For all 3D Artists. ❤️ Nick Read more about the merger here… https://lnkd.in/gudxrJn9

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My second ''Insight'' for Mixing Light, where I dive deep into the contrast operations in DaVinci Resolve. I explain why they work the way they do, so you can easily replicate the concepts in other software or environments — and, as usual, I give you more reasons to avoid Camera RAW altogether 🫡

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🚀 What technology will change the VFX industry the most in the next 10 years? Possibilities include: • AI-assisted pipelines • Real-time rendering • cloud-based production • digital humans The pace of change in our industry is incredible. If you had to choose one technology that will dominate the next decade, what would it be? #FutureOfVFX #Technology #VisualEffects #NareshTalks

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Happy to share that all eight Flame Learning Channel videos I’ve been working on over the last several weeks are now live! They span a mix of brand new Flame 2026.2 features, as well as recently updated features. Topics include: - Snapshot - Selective workflow improvements - ML Automatte - Project management improvements - The Type node - The Subtitle node Big thanks to Frédéric Warren, Stephane Labrie, Francis Bouillon, & Louis Martin for their collaboration and trust. https://lnkd.in/e4kDFwfe

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AI Filmmaking is developing to another level. We are so spoiled from fast growing quality that many are still criticizing:“It’s still fake and I still can see it’s AI… therefore it’s useless!“ But this is just the beginning. From what we’ve seen over the last 2,5 years how quickly the quality has improved what do you think how this is going to be in 2-5 years? Producing content nowadays is not about if you would use AI or not, it’s where and how… The Anti-AI-movement is also developing within the content creators community and it’s really interesting to observe how they will manage to step up against the AI slop. But breaking down it’s still the same thing as always: - if AI or not, a good storyteller and creative head can not be substituted. These are just tools like brushes and colors for a painter.

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