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Buyer’s Guide: Ghost Town Media Relies on MAXON CINEMA 4D for Linkin Park Music Video

Since 2006, Ghost Town Media has produced award-winning work that spans multiple mediums including narrative film, international branding, broadcast commercial, and live visuals for some of the world’s top performers. Brandon Parvini, founder and lead creative director of the LA-based studio, brings a heavy technical influence to explore the intersection of physical interaction and immersive graphic environments.

When Ghost Town Media was looking to integrate a 3D package into the pipeline it found that many programs required too high of a learning curve to achieve acceptable results and then they discovered MAXON CINEMA 4D.

“CINEMA 4D has been a staple for our creative process and development since 2009,” says Parvini. “We largely tend to be a studio of generalists and artists and our core team did not all come into the field from a VFX/post production focused background. CINEMA 4D is very straightforward and delivers the flexibility and quality-to time-ratio that we required. It was a natural adoption.”

Ghost Town Media used CINEMA 4D in a collaboration with the members of Linkin Park to create the VFX in the band’s nearly four-minute video, music video “A Light That Never Comes.” The project included CG video that combines 3D scans of all of the band members with a massive CG cityscape.

Parvini scanned all of the band members in various positions and at different angles for use as raw 3D assets. In addition to the static 3D scans, Parvini and Ghost Town devised a system to capture sequential 3D objects, allowing the band to perform and have the performances played back in post.

Among the challenges Ghost Town faced during the two month project, was the sheer expansiveness of the piece, Parvini says. “I think at one point we had about 70,000 buildings in our city setup, which is around the same as Manhattan.

“Relying on CINEMA 4D’s MoGraph toolset to clone many of the buildings in the project to allowed us to quickly populate buildings and adjust positions and final angles,” adds Parvini. “Relying on the Team Render and light caching system in CINEMA 4D we were also able to task the entire studio on single frame renders, dropping what had been approximately one hour renders down to eight minutes just by utilizing the full bandwidth of the studio. This in turn allowed us to scramble through more looks, designs and push the texture builds further as we could debug and perfect the looks in a more fluid and timely manner.”