Di-O-Matic products have been used in AAA video games since 2000

The technologies behind your favorite CG Characters

Eurocom uses Voice-O-Matic in Batman Begins: The Game

Blur Studio animate SpongeBob SquarePants with the help of Morph-O-Matic

Blur Studio and Snowblind created Justice League Heroes with the help of Morph-O-Matic

Ellipsanime uses Voice-O-Matic (XSI Edition) to create Garfield : The serie

Activision Beenox uses Voice-O-Matic to create Bee Movie Game

Activision Beenox uses Voice-O-Matic to create Monsters vs. Aliens the Game

Rainbow Studio brings cartoony style to CG with the help of Morph-O-Matic

Digital Dimension uses Morph-O-Matic to animate Spyro the dragon

"Gopher Broke", Oscar nominated CG short from Blur Studio, was animated with the help of Morph-O-Matic

Dibulitoon rely on Di-O-Matic tools to deliver the CG feature film : Cristobal Molon

Activision studios have used Voice-O-Matic in several AAA games including Call of Duty.

Rockstar Vancouver rely on Voice-O-Matic when developing the critically acclaimed game: Bully

Nexus Productions rely on Morph-O-Matic to animate Yao and LeBron in COKE Unity commercial

Relying on Morph-O-Matic many studios have worked for Vivendi to bring Crash Bandicoot to life, including Virgin Lands and Digital Dimension.

Morph-O-Matic and Voice-O-Matic helped leading studios, including Activision and Blur Studio to entertain audience with Spiderman

Relying on Morph-O-Matic for the facial animations many studios have worked on various Sonic games, including Blur Studio and SEGA.

Rockstar North rely on Voice-O-Matic in GTA IV

Morph-O-Matic played a key role in making Mickey Mouse in 3D for the first time by helping Blur Studio and Disney.

Blur Studio created and animated the new Lara Croft using Morph-O-Matic

 Di-O-Matic.com > Press > Success Stories > Pascal Blais Production : Dannon Commercial  

Pascal Blais Production creates impressive CG Character with Morph-O-Matic

Imagine that you’re part of an Academy Award winning Production Company that has just landed a large commercial for the popular yogurt brand Dannon. The vision for this lively spot calls for the intermixing of a live action boy and a CG dinosaur, along with a host of emotions from both. That’s the task as was presented to Pascal Blais Productions, one of the coolest and most prominent production facilities in Montreal, Canada. “The commercial was to begin with a 6-year old boy in his bedroom getting ready to eat a small Danonino,” explained Stéphane Côté, who acted as the Lead Artist for the project. “Suddenly he hears a strange sound and out from his closet jumps a computer generated green dinosaur. The two are then propelled through the boy’s house and ultimately end up outside laughing where the child finally tastes the product.”

While the production schedule given was fairly long (twelve weeks), one of the biggest hurdles that needed to be overcome was the fact that the company had seldom needed to rely on morph tools before and faced the daunting task of learning a new product just so they could complete the spot. “It was the first time that we used these new morph tools in our production pipeline, and that was definitely scary. For those of us who work into this industry, we all know how stressfull it can be to try and learn a new tool while you’re in the middle of a production, “ said Côté. “Every moment is precious and if you make the wrong choice, you have to scramble at the end.”


At first, the Pascal Blais team looked at the built-in morphing tools, but quickly realized that they needed more control. “Initially we thought that the job could be done with the basic tools in 3ds max. But we discovered right away that without the progressive morphing options, the ability to save and load animation data files, the vertex soft-selection support and other options that Morph-O-Matic offered, we’d waste a lot of our precious production time. We needed a better tool.”

And this decision to use Morph-O-Matic proved to be a huge benefit for Stéphane and his team. Not only were they able to learn MoM quickly, it cut down dramatically on the amount of work they needed to do to get excellent results. “Since the spot only called for our dinosaur character to show emotions like joy, fear and surprise, and that we didn’t have to do any lip-sync, we were able to build around seven basic shapes and mix them together to get a dynamic range of expressions! The tool worked exceptionally well and helped us deliver the job,” concluded Côté.

With award-winning tools like Morph-O-Matic and the ability to deliver advanced options for companies like Pascal Blais Productions, Di-O-Matic is an obvious choice for professionals and casual users alike. “The kinds of tools that Di-O-Matic provides gives artists the ability to work with a maximum amount of flexibility,” exclaimed Côté.

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