Rovio Entertainment selectes Sony Pictures Imageworks in Vancouver as its primary animation house for the production of the Angry Birds movie.
VFX supervisor Nordin Rahhali discusses the challenges of rebuilding the hero of José Padilha’s new film.
yU+Co created 118 VFX shots in order to visualize the inner workings of a man/robot hybrid in the latest installment of the popular science fiction action franchise RoboCop.
After a CGI redesign of Toucan Sam, Nathan Love once again partners with Kellogg, this time to create a humorous new campaign for Kellogg’s Krave cereal.
With the general submissions deadline for SIGGRAPH 2014 only five days away, conference organizers issue a final call for entries.
The Solid State teams with The Smith Family on an animated web series to raise awareness of over 600,000 disadvantaged Australian children.
The director, who will be receiving the VES' 2014 Visionary Award, discusses the unique process of reverse-engineering his Oscar-contending blockbuster.
David&Goliath turns to Digital Domain to create a Matrix-worthy CG environment for the Super Bowl spot for Kia featuring Laurence Fishburne.
Studio 100 Film completes pre-sales for the new feature length films Maya The Bee – Movie, Vic The Viking – Movie, Heidi - Movie and Blinky Bill – Movie and announces a new VFX partner with full service media company M.A.R.K.13.
Snow Queen 2: The Snow King to be produced in English with top U.S. talent; Ned Lott announced as casting and voice director.
Something “pickeled” this way comes as Flint Lockwood and the gang battle an island full of crazy “foodimals.”
Koodo and Camillion Corp. sign a new global rights deal for the use of the CGI-animated pitchman El Tabador in media entertainment.
First-ever Asian mecha live-action and animated feature film series leverages markerless iPi Motion capture software using Sony PS Eye game webcams.
Disney releases a new trailer for the forthcoming DisneyToon feature, Planes: Fire & Rescue, the follow-up to last summer’s Planes.
V-Ray 3.0, the versatile lighting, shading, and rendering toolkit for 3ds Max from Chaos Group, delivers a powerful new feature set as well as being production-ready for teams of any size.
Jenny Fulle, Visual Effects Producer and Founder of The Creative-Cartel, and Rory McGregor, CEO of Cospective, announce an integration between Cospective’s cineSync review and approval technology and The Creative-Cartel’s JOUST digital workflow management system.
Taylor James seamlessly blends CGI and photography in Vertu Extraordinary, a new cross-media campaign for Vertu.
Cutting Edge delivers over 116 VFX shots for Stuart Beattie’s I, Frankenstein to create a specialized ‘demon descension’ effect.
Disney’s classic cartoon chipmunk duo, Chip ‘n’ Dale, is being revived with plans for a live-action/CG hybrid big-screen feature.
Hot on the heels of the success of the recent viral hit Honda “Hands,” Honda and Wieden+Kennedy London once again team up with Nexus directors Smith and Foulkes to create a captivating film introducing the newest member of the Civic family.