{"id":21444,"date":"2025-12-03T09:39:36","date_gmt":"2025-12-03T06:39:36","guid":{"rendered":"https:\/\/bimsolutions.ge\/eng\/?p=21444"},"modified":"2025-12-03T09:40:59","modified_gmt":"2025-12-03T06:40:59","slug":"how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom","status":"publish","type":"post","link":"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/","title":{"rendered":"How Triggerfish\u2019s Animation Pipeline Creates Space for Artistic Freedom"},"content":{"rendered":"

What does it take for a small animation studio to become a leader in\u00a0the development and production of premium character-driven animation for feature film and TV? For\u00a0Triggerfish<\/a>,<\/strong> Africa\u2019s largest and most awarded animation studio, the answer lies in empowering animators and embracing new technologies that let artists be artists. From automated animation pipelines to cutting-edge simulation software and interoperable file formats, Triggerfish prioritises tools that free its animators to craft characters and stories beloved around the world.<\/p>\n

\"\"
The Scarecrows\u2019 Wedding<\/em>, image courtesy of Triggerfish and Magic Light Pictures<\/figcaption><\/figure>\n

Director of Production\u00a0Mike Buckland\u00a0and\u00a0CG Supervisor and Layout Supervisor\u00a0Chris Cunnington\u00a0both came up through the animator ranks, so they know firsthand how important systems and tools are to facilitating creative storytelling. Buckland\u00a0studied graphic design in his native Zimbabwe and started his career working in advertising. After seeing\u00a0Toy Story<\/em>, he became excited about 3D animation and began an internship at a small animation studio in\u00a0Harare. \u201cWe did a lot of work and a lot of variety, so I learned everything from dealing with clients to editing to compositing,\u201d he says. \u201cI\u2019ve always had a passion for designing characters and making cartoons, so I started making short films.\u201d Buckland moved to South Africa to focus on films and joined Triggerfish in 2007 to help transform the studio\u2019s focus from stop-frame animation to CG animation.<\/p>\n

Cunnington\u00a0also\u00a0began\u00a0his career in\u00a0advertising, specifically in\u00a0the signage industry. \u201cI\u00a0started a small company with my father,\u00a0creating vinyl signage, he says.\u00a0\u201cWe bought ourselves one of those vinyl-cutting\u00a0machines, saw\u00a0a\u00a0gap in the industry,\u00a0and expanded out from there.\u201d\u00a0Sign creation evolved\u00a0into graphic design and website work.\u00a0Wanting\u00a0to take his skills to the next step, Cunnington sold the company to a friend and used the proceeds to pay tuition in a\u00a03D animation\u00a0program.\u00a0After earning his diploma, Cunnington worked for a gaming company\u00a0before segueing\u00a0into animation, joining\u00a0Triggerfish\u00a0in 2009 to\u00a0lead the stereography department on a movie project.<\/p>\n

It was around this time that Triggerfish began to take off\u00a0on the global stage.\u00a0\u201cWhen Chris joined us\u00a0in 2009, we\u2019d\u00a0just gotten\u00a0funding for our\u00a0first feature film,\u00a0Adventures in\u00a0Zambezia<\/em>,\u201d Buckland says.\u00a0\u201cThen we did another feature film called\u00a0Khumba<\/em>. Both got international distribution and release, which was really exciting and gratifying.\u201d<\/p>\n

Over the years, Triggerfish has grown into Africa\u2019s leading animation studio, winning Emmys, Annies, and other international awards, and creating work for such prestigious clients and partners as\u00a0Disney, the BBC, Netflix, Lucasfilm, Magic Light Pictures, Hasbro, eOne, Ubisoft, Cake, Nickelodeon, Warner Brothers Animation, Sesame Workshop,\u00a0and Sony Pictures Animation.<\/p>\n

A pipeline that lets artists be artists<\/strong><\/h3>\n

When Triggerfish\u00a0set out to\u00a0make feature films,\u00a0the projects quickly became too complex to manage with just a few spreadsheets. At first, Buckland says,\u00a0the team\u00a0created a homegrown solution.\u00a0\u201cWe wrote our own production-management software, mostly around keeping track of tasks and\u00a0the\u00a0status of various departments. We used that for\u00a0two or\u00a0three\u00a0projects, and it was\u00a0great, but it was self-managed and\u00a0became too much of a burden to\u00a0maintain.\u201d\u00a0They shifted\u00a0the pipeline to\u00a0Autodesk Flow Production Tracking,\u00a0and\u00a0quickly came to rely on it for task management, review management, and more typical artist-related work.<\/p>\n

About five years ago, during a period of downtime between major projects,\u00a0Triggerfish undertook a\u00a0massive\u00a0overhaul of\u00a0its\u00a0animation pipeline. \u201cOur\u00a0pipeline\u00a0at the time\u00a0was kind of manual, a bit more human-managed, with a lot more internal\u00a0messaging\u00a0linking things in,\u201d Cunnington\u00a0says.\u00a0Opting to start\u00a0from scratch,\u00a0the team\u00a0built\u00a0a new pipeline\u00a0around\u00a0the guiding principle of\u00a0\u201clet artists be artists.\u201d<\/p>\n

\u201cThe goal was to not have artists worrying about the technicalities of file storage and scene content,\u201d Cunnington says.\u00a0\u201cWe built\u00a0a user-friendly interface that allows artists to focus on their work. For example, if they are working on an\u00a0asset\u00a0for look dev, they can do their work, and when they publish, the system takes over and places it in the correct location, whilst layering and merging other assets as required.\u201d<\/p>\n

For the new system to properly manage files, the team needed to standardise deliverables, creating, what Cunnington calls, \u201cfreedom within a framework.\u201d He explains, \u201cArtists have the freedom to be creative, but deliverables need to be structured within a more regimented framework. We have a validation tool that checks all assets and kicks back files with issues to be fixed before handing off to the next department.\u201d<\/p>\n

\u201cWe also do a lot of behind-the-scenes processing with\u00a0mayapy, the Maya Python interpreter. An artist might publish something, and that asset is reprocessed multiple times in the background without their knowledge.\u201d<\/p>\n

It\u2019s all managed in Flow Production Tracking, which\u00a0gives\u00a0the team a comprehensive database for tracking and managing assets of every type. \u201cNot only do we create our main characters and main sets and publish those review turntables up onto Flow\u00a0Production Tracking\u00a0for review, but we then assign that same character to a shot as a\u00a0sub asset,\u201d Cunnington\u00a0says. \u201cWe use that to track all the related assets that are supposed to be built into a shot for lighting and rendering.\u201d<\/p>\n

\u201cWhen an artist says, \u2018I want to work on shot 1010,\u2019 Flow\u00a0Production Tracking presents them with all the relevant assets\u2014characters, environments, props\u2014and then they can tick those boxes and import the assets for the shot.\u201d<\/p><\/blockquote>\n

Working with this\u00a0structured and\u00a0automated pipeline\u00a0for the past few years\u00a0has reduced downstream problems\u00a0and kept\u00a0assets moving more smoothly, enabling\u00a0the\u00a0studio\u00a0to\u00a0streamline its departmental structure even as\u00a0it has\u00a0created\u00a0its\u00a0most ambitious projects to date.<\/p>\n

Create, render, simulate\u2014filling an animator\u2019s toolbox<\/strong><\/h3>\n

Triggerfish uses\u00a0Autodesk Maya\u00a0for\u00a0modeling, rigging, and animation, as well as layout for previz and camera work, and set assembly. Buckland explains that Maya was the logical choice given the company\u2019s size,\u00a0the scale of its work, and the prevalence of Maya skills among the animators joining the team.<\/p>\n

\"\"
Tiddler<\/em>\u00a0set dressing done with Bifrost in Maya, image courtesy of Triggerfish and Magic Light Pictures<\/figcaption><\/figure>\n

Similarly, the\u00a0studio\u00a0has used\u00a0Autodesk Arnold\u00a0rendering\u00a0for years. \u201cWhen Arnold came out, we immediately adopted it,\u201d Buckland says. \u201cIt was just much easier to work with. We got better results, quicker renders,\u00a0and\u00a0better-looking lighting.\u201d<\/p>\n

\u201cIt\u2019s basically the best third-party render engine available,\u201d Cunnington adds.\u00a0\u201cThe others don\u2019t get near the speed and quality that Arnold has.\u201d For future projects, the team is exploring the use of\u00a0GPU rendering\u00a0with Arnold. \u201cWe\u2019re still in the testing stage, but we\u2019ve been excited by the leaps and bounds that the GPU rendering side of Arnold has been taking.\u201d<\/p>\n

\u201cWe\u00a0don\u2019t\u00a0want an artist sitting around waiting for their own machine to kick out a turntable when\u00a0it\u2019s\u00a0not necessary.\u201d<\/p><\/blockquote>\n

The\u00a0team has taken advantage of the\u00a0Autodesk Media & Entertainment Collection\u00a0to bundle\u00a0multiple Arnold seats\u00a0with each Maya license.\u00a0\u201cIt\u2019s mainly about making sure that we have sufficient render nodes available,\u201d Buckland says.\u00a0\u201cAgain,\u00a0it\u2019s\u00a0about letting artists be artists.\u201d<\/p>\n

Intricate environments made easy with procedural capabilities<\/strong><\/h3>\n

Maya\u2019s procedural content creation tool,\u00a0Bifrost,\u00a0has also proven useful on recent projects. Cunnington\u00a0began using Bifrost\u00a0several years ago during work on\u00a0Tiddler,\u00a0the Magic Light Pictures\u00a0film\u00a0about a fish, which\u00a0required\u00a0scatter systems\u00a0for parts of the underwater environment. \u201cI poked around with\u00a0a different tool\u00a0for a couple of\u00a0weeks and\u00a0could not make it do the things I needed to do,\u201d Cunnington says.\u00a0\u201cI started asking,\u00a0what are the other options?\u00a0The one that\u00a0came up very quickly and\u00a0that\u00a0answered a lot of my questions was Bifrost.\u201d He found that Bifrost was compatible with the production\u2019s pipeline\u00a0and allowed him to create multiple instances of files.<\/p>\n

\u201cBifrost checked all the boxes, one of the big ones being creating multiple vertex maps\u00a0color sets on a single input mesh.\u00a0It just gave me that power that I didn\u2019t have in\u00a0the other\u00a0tool and\u00a0solved all the problems that we were foreseeing, \u201d\u00a0Cunnington adds.<\/p>\n

\u201cOn\u00a0The Scarecrows\u2019 Wedding, our most recent work for Magic Light Pictures, it\u2019s being used for actual prop work: for creating tree canopies, bales of hay, along with scattering massive fields of wheat and grass.\u201d<\/p>\n

\u201cWhen it comes to complex asset creation, Bifrost has become one of our go-to tools, revolutionizing how we approach\u00a0some of\u00a0the most intricate environments.\u201d<\/p><\/blockquote>\n

\u201cTake, for example, the creation of five unique trees, each with a custom-designed canopy. By leveraging Bifrost\u2019s power, we were able to instance every single twig and place\u00a0apples\u00a0on those twigs with precision, all while\u00a0maintaining\u00a0complete control over the canopy shape. This flexibility was key\u00a0in\u00a0achieving exactly what the directors envisioned.\u201d<\/p>\n

\"\"<\/figure>\n
\"\"
Bifrost, Maya\u2019s 3D procedural content creation tool, is used for intricate environment work like creating tree canopies, bales of hay, along with scattering massive fields of wheat and grass.<\/em><\/figcaption><\/figure>\n

One of the standout challenges in the film required a vast wheat field, which needed to appear both in its fully grown and harvested states. Here, Bifrost\u2019s procedural capabilities really shone. Instead of painstakingly painting new vertex maps or manually placing each row, they could effortlessly control the placement of the wheat. The rows were arranged as if sewn by a tractor, and during live reviews, they had the power to dial in the number of rows on the fly.<\/p>\n

From the grass scatters that blanket the ground to the hay bales and even every tiny pebble, Bifrost played a huge role in ensuring that every shot of the film felt organic. \u201cBifrost gave our artists the freedom to focus on\u00a0the art\u00a0while it handled\u00a0the heavy\u00a0lifting, making it an indispensable part of our pipeline.\u00a0In every frame, Bifrost played a role behind the scenes, creating the world our story inhabits.\u201d says Cunnington.<\/p>\n

Bifrost also made it easy for Cunnington to create scatters that can be shared with animators and readily managed within Triggerfish\u2019s pipeline. \u201cBifrost is able to output an\u00a0OpenUSD file of the proxy geometry of scatters that animators can import into their environment in a lightweight form.\u00a0From a pipeline perspective,\u00a0we\u00a0can move the Bifrost graph into an object that we can parent into our assets for easy publishing.\u201d<\/p>\n

Three years on, Bifrost is an important tool for the studio\u2019s current projects. \u201cIt\u2019s slowly creeping more and more into the pipeline,\u201d Cunnington says. \u201cWhere it was just used for dressing on the previous project, it\u2019s now being used for actual prop work, for creating bales of hay, for destroying that bale of hay.\u201d<\/p>\n

Empowering data interchange with OpenUSD<\/strong><\/h3>\n

One of the most significant factors in Triggerfish\u2019s ability to take on increasingly complex projects\u00a0while still giving animators freedom to focus on their art\u00a0is the studio\u2019s embrace of\u00a0Universal Scene Description (OpenUSD)\u00a0to ensure data interoperability.\u00a0\u201cIt\u2019s now the de facto standard in the studio,\u201d Cunnington says.\u00a0\u201cEverything gets exported out as\u00a0OpenUSD, and we know that any software will be able to read that\u00a0OpenUSD\u00a0in.\u201d<\/p>\n

\u00a0\u201cWhere do we need assets to come from? It doesn\u2019t matter. As long as it\u2019s output in the correct OpenUSD structure,\u00a0we can use it anywhere.\u201d<\/p><\/blockquote>\n

But beyond\u00a0OpenUSD\u2019s\u00a0usefulness for data interchange, Cunnington appreciates the format for its structure and portability. \u201cOpenUSD\u2019s power comes from its layer and composition\u00a0arc systems,\u201d he explains. \u201cWhen you layer\u00a0two OpenUSD\u00a0files that have a similar scene, hierarchy, or graph structure, they overlay each other perfectly, and merge into each other.\u201d<\/p>\n

\u201cThe size of the files\u00a0is\u00a0actually quite amazing,\u201d he adds. \u201cA binary OpenUSD file is a massive\u00a0size\u00a0saving over any other file format. For example,\u00a0when I initially exported grass scatters for the animation team, it was a 1.6 GB file, which is\u00a0a\u00a0bit too heavy to copy over to local computers and have in your viewport.\u00a0OpenUSD\u2019s\u00a0native instancing solved that immediately. I instanced the\u00a0standardized grass tufts,\u00a0and we then\u00a0could\u00a0produce that same file with only 40MB.\u00a0It loads in the viewport nearly instantly, the animators are happy, and there\u2019s no like lag time for them.\u201d<\/p>\n

As Triggerfish continues to expand and scale,\u00a0the team will\u00a0continue to\u00a0explore new tools that can help power their uniquely flexible, artist-focused animation\u00a0pipeline. For Buckland and Cunnington,\u00a0the priority will always be freeing animators from technical hassles so they can focus on doing what they do best: creating characters and stories that resonate on the global stage.<\/p>\n

 <\/p>\n

Article From: www.autodesk.com<\/a><\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

What does it take for a small animation studio to become a leader in\u00a0the development …<\/p>\n","protected":false},"author":11,"featured_media":21446,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"acf":[],"yoast_head":"\nHow Triggerfish\u2019s Animation Pipeline Creates Space for Artistic Freedom - bimsolutions.ge<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How Triggerfish\u2019s Animation Pipeline Creates Space for Artistic Freedom - bimsolutions.ge\" \/>\n<meta property=\"og:description\" content=\"What does it take for a small animation studio to become a leader in\u00a0the development …\" \/>\n<meta property=\"og:url\" content=\"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/\" \/>\n<meta property=\"og:site_name\" content=\"bimsolutions.ge\" \/>\n<meta property=\"article:published_time\" content=\"2025-12-03T06:39:36+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-12-03T06:40:59+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2025\/12\/Untitled-design-2025-12-03T101357.419.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1366\" \/>\n\t<meta property=\"og:image:height\" content=\"768\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"BIM\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"BIM\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/\",\"url\":\"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/\",\"name\":\"How Triggerfish\u2019s Animation Pipeline Creates Space for Artistic Freedom - bimsolutions.ge\",\"isPartOf\":{\"@id\":\"https:\/\/bimsolutions.ge\/eng\/#website\"},\"datePublished\":\"2025-12-03T06:39:36+00:00\",\"dateModified\":\"2025-12-03T06:40:59+00:00\",\"author\":{\"@id\":\"https:\/\/bimsolutions.ge\/eng\/#\/schema\/person\/d1833f8d3bcdddc9bcfde04211600b91\"},\"breadcrumb\":{\"@id\":\"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"How Triggerfish\u2019s Animation Pipeline Creates Space for Artistic Freedom\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/bimsolutions.ge\/eng\/#website\",\"url\":\"https:\/\/bimsolutions.ge\/eng\/\",\"name\":\"bimsolutions.ge\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/bimsolutions.ge\/eng\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/bimsolutions.ge\/eng\/#\/schema\/person\/d1833f8d3bcdddc9bcfde04211600b91\",\"name\":\"BIM\",\"sameAs\":[\"https:\/\/bimsolutions.ge\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"How Triggerfish\u2019s Animation Pipeline Creates Space for Artistic Freedom - bimsolutions.ge","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/","og_locale":"en_US","og_type":"article","og_title":"How Triggerfish\u2019s Animation Pipeline Creates Space for Artistic Freedom - bimsolutions.ge","og_description":"What does it take for a small animation studio to become a leader in\u00a0the development …","og_url":"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/","og_site_name":"bimsolutions.ge","article_published_time":"2025-12-03T06:39:36+00:00","article_modified_time":"2025-12-03T06:40:59+00:00","og_image":[{"width":1366,"height":768,"url":"https:\/\/bimsolutions.ge\/eng\/wp-content\/uploads\/2025\/12\/Untitled-design-2025-12-03T101357.419.png","type":"image\/png"}],"author":"BIM","twitter_card":"summary_large_image","twitter_misc":{"Written by":"BIM","Est. reading time":"11 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/","url":"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/","name":"How Triggerfish\u2019s Animation Pipeline Creates Space for Artistic Freedom - bimsolutions.ge","isPartOf":{"@id":"https:\/\/bimsolutions.ge\/eng\/#website"},"datePublished":"2025-12-03T06:39:36+00:00","dateModified":"2025-12-03T06:40:59+00:00","author":{"@id":"https:\/\/bimsolutions.ge\/eng\/#\/schema\/person\/d1833f8d3bcdddc9bcfde04211600b91"},"breadcrumb":{"@id":"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/bimsolutions.ge\/eng\/blog\/how-triggerfishs-animation-pipeline-creates-space-for-artistic-freedom\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"How Triggerfish\u2019s Animation Pipeline Creates Space for Artistic Freedom"}]},{"@type":"WebSite","@id":"https:\/\/bimsolutions.ge\/eng\/#website","url":"https:\/\/bimsolutions.ge\/eng\/","name":"bimsolutions.ge","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/bimsolutions.ge\/eng\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/bimsolutions.ge\/eng\/#\/schema\/person\/d1833f8d3bcdddc9bcfde04211600b91","name":"BIM","sameAs":["https:\/\/bimsolutions.ge"]}]}},"_links":{"self":[{"href":"https:\/\/bimsolutions.ge\/eng\/wp-json\/wp\/v2\/posts\/21444"}],"collection":[{"href":"https:\/\/bimsolutions.ge\/eng\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bimsolutions.ge\/eng\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bimsolutions.ge\/eng\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/bimsolutions.ge\/eng\/wp-json\/wp\/v2\/comments?post=21444"}],"version-history":[{"count":2,"href":"https:\/\/bimsolutions.ge\/eng\/wp-json\/wp\/v2\/posts\/21444\/revisions"}],"predecessor-version":[{"id":21447,"href":"https:\/\/bimsolutions.ge\/eng\/wp-json\/wp\/v2\/posts\/21444\/revisions\/21447"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bimsolutions.ge\/eng\/wp-json\/wp\/v2\/media\/21446"}],"wp:attachment":[{"href":"https:\/\/bimsolutions.ge\/eng\/wp-json\/wp\/v2\/media?parent=21444"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bimsolutions.ge\/eng\/wp-json\/wp\/v2\/categories?post=21444"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bimsolutions.ge\/eng\/wp-json\/wp\/v2\/tags?post=21444"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}