SpeedTree Customer Comments

SpeedTree frequently receives positive feedback and customer comments based on the high quality animated tree renderings made possible with our product. Check out some of the notes below.

Game Development Comments

Cinema/Video Production Comments

“For the large, streaming world in Saints Row IV, I needed to see how game objects would act at different distances. SpeedTree does this in real-time inside the modeler tool, which provides a clear advantage over other creation tools. I found these SpeedTree features to be indispensable for open-world applications, and rather freeing to use as an artist and content creator.”

Stephen Quirk, DEEPSILVER VOLITION, Art Director, Saints Row IV

“SpeedTree is an easy choice for cross-platform game development, which is why we've worked with them successfully since 2004. The new UE4 integration of SpeedTree is elegant and efficient, and it is available to all Unreal Engine 4 licensees now.”

Tim Sweeney, EPIC GAMES, Founder & Technical Director, Unreal Engine 4

“SpeedTree has allowed us to have a much greater variety of trees than we ever could have had creating them ourselves or through outsourcing on the same budget. The easy engine integration and existing library of trees allowed us to get our outdoor environments looking lush very quickly.”

Frank Wilson, TWISTED PIXEL, Technical Director, LocoCycle

“SpeedTree uses a very sophisticated level of detail system so that many near and far trees can be rendered very efficiently. This allows a huge number of trees and vegetation to be rendered in Survive, which will really make both the forests and city areas look great.”

David Tse, SUBSURFACE GAMES, CEO and Technical Director, Survive

“SpeedTree has been essential for both modeling and efficiently rendering beautiful trees and plants. There is no better solution for delivering fantastic, natural environments to our players.”

Akihiro Suzuki, TECMO KOEI GAMES CO., LTD Producer, Warriors Orochi 3 & Dynasty Warriors 7

“The use of SpeedTree ensures that our games meet the highest visual standards. Our players count on us to provide a great gaming experience, and SpeedTree helps make that possible.”

Kim Jeung Soo, KRG Soft CEO, Yulgang 2

“SpeedTree was ideal for creating highly detailed trees, bushes and other foliage our artists used to make the world feel natural. SpeedTree is simply the best tool for modeling realistic trees.”

Dr. Michael Capps, Epic Games President, Gears of War 3

Cinema/Video Production Comments

“For the vegetation, SpeedTree was pretty much the only solution we used. It’s a really artist-friendly tool when you’re trying to create something organic.”

Dan Wheaton, Industrial Light & Magic Digital Matte Supervisor on The Lone Ranger

“We found SpeedTree great for what we needed to accomplish in a relatively short period of time, on Iron Man 3. The free tree models are easily adjustable to many different types of trees and the online library gave us even more options. Getting quick textures for background trees was also a big bonus, as were the dynamic capabilities.”

Artemis Oikonomopoulou, Cinesite CG Supervisor on Iron Man 3

“Image Engine has used SpeedTree on several high profile film productions. As a basis for creating procedurally generated assets it has been an invaluable add-on to our existing film pipeline. Fast, efficient and robust – we expect to continue using it with great success.”

Gino del Rosario, Head of Technology for Image Engine Design Inc.

“SpeedTree’s high and low polygonal tree models were essential for rendering such an enormous number of trees. The procedural nature of tree creation really made the process simple. Once you get a tree looking the way you want, SpeedTree allows you to easily generate many different variations with its optimization and culling tools. This saved us a huge amount of time in the creation of our forest.”

Berj Bannayan, Soho VFX Co-Founder and Visual Effects Supervisor on Jack the Giant Slayer

“Before SpeedTree, I was hand modeling all of my trees, which took an insanely long time. Nothing can get you up and running, from pre-vis to the final shot, as fast as SpeedTree.”

Luke McDonald, Crazy Horse Effects Digital Effects Supervisor on Life of Pi

“SpeedTree enabled the team to address client feedback very swiftly in the period of final tweaks and changes. SpeedTree fully delivered for us at ‘crunch time’.”

Rafael Morant, BlueBolt Digital Environments Supervisor on Snow White and the Huntsman

“SpeedTree out of the box looked very realistic. But beyond that, you can actually edit the trees. That’s very important—to use your own creativity and create what you think is going to be realistic for a shot.”

Brett Northcutt, Industrial Light & Magic Digital Matte Artist on Pirates of the Caribbean: On Stranger Tides

“Just knowing you can take a shot at that last minute and put two artists on it and get a final shot within a day or two—that speaks volumes about the [SpeedTree] tool. With older vegetation solutions, it could take days or a week to get iterations out. SpeedTree’s wind feature, on the other hand, makes it very easy to tweak the wind going through the branches in a matter of hours.”

Johann Thorngren, Industrial Light & Magic Digital Matte Supervisor on Super 8

“SpeedTree became an integral part of our toolset . . . It saves our matte painters a lot of the hassle of extracting trees and plants from footage, and is indispensable for full 3D shots.”

Eran Dinur, Brainstorm Digital VFX Supervisor on The Men Who Built America

“I knew within 15 minutes that this [SpeedTree] was what we were looking for. In the past, we had never been able to control down to a leaf or twig, where with SpeedTree we could. We were able to grow and manipulate a tree to the exact specifications of a film where literally every scene had been meticulously pre-visualized by Mr. Cameron’s team.”

Richard Bluff, Industrial Light & Magic Digital Matte Supervisor on Avatar