London-based VFX house delivers 1,000 VFX shots for BBC mini-series ‘Jonathan Strange & Mr Norrell,’ including 3D environments, crowd simulations, water, mud and sand effects simulation, modelling and texturing, matte painting, animation and 2D work.
Based on the characters created by Ross Bagdasarian, ‘Alvin and The Chipmunks: The Road Chip’ is directed by Walt Becker and arrives in theaters everywhere on December 23, 2015.
Montreal-based visual effects studio combines practical elements with CG to create a realistic look for Brad Bird’s ‘Tomorrowland,’ including digital matte painting, bluescreen compositing, scene enhancements, CG effects and simulation.
Director Sanjay Patel draws from his own experiences for the film’s story, which follows his journey from a California kid watching cartoons to a man respecting his father's Indian traditions.
MPC VFX Supervisor Sheldon Stopsack examines the ins and outs of digitally recreating an iconic action hero for Paramount’s ‘Terminator’ franchise reboot.
SIGGRAPH announces the complete lineup for this year’s Production Sessions program for its 42nd annual conference, set for August 9-13 at the Los Angeles Convention Center.
600-student educational institution offering a unique curriculum fusing digital art, engineering and entrepreneurship, will relocate to a new site at 191 Baypointe Parkway in San Jose, CA.
ILM VFX supervisor Ben Snow discusses the enormity, complexity and challenges of the work his team wrestled with on Marvel’s latest superhero adventure.
Cospective and Shotgun join forces to offer VFX, animation and post studios a faster way of working with built-in Shotgun Review portal built directly into cineSync.
Led by VFX Supervisor Seth Maury and VFX Producer Laura Schultz, MPC Vancouver completed 250 shots for Shawn Levy’s ‘Night at the Museum: Secret of the Tomb.’
Pixar’s new film is the best animation film this year so far, and their best release since ‘Toy Story 3.’
New subscription licensing plan offers fully supported version of Qube! render farm management software for $15/month for commercial use and $10.50/month for educational use.
Filmakademie Baden-Württemberg graduate Johannes Schiehsl uses Autodesk Maya, Chaos Group’s V-Ray, and Adobe After Effects and Premiere to create his award-winning diploma film, ‘366 Days.’
Lightweight inertial capture suits allow production company MRC to lay down Ted’s performance live on set.
In this four-part interview from FMX 2015, Christopher Townsend, the overall VFX Supervisor on ‘Avengers: Age of Ultron,’ provides a detailed overview of the key components of the Marvel Studios tentpole.
Netflix adds Henson’s ‘Word Party,’ Cheeky Little’s ‘Kazoops!’ and Guru’s ‘True & the Rainbow Kingdom’ to its growing slate of original preschool content.
Australian animation and visual effects studio completes more than 1,000 shots for Seth MacFarlane’s raunchy sequel, ‘Ted 2.’
Vancouver-based visual effects studio relies on cloud-based creative management tool ftrack to deliver stunning effects on a tight deadline for Syfy’s ‘Continuum’ and TBT’s ‘Falling Skies.’
With an extensive list of credits including ‘Jupiter Ascending,’ ‘The Best of Me,’ ‘X-Men: Days of Future Past,’ ‘Riddick,’ ‘White House Down’ and ‘Underworld Awakening,’ Marc A. Rousseau joins Cinesite’s Montréal Studio as VFX Executive Producer.
New animation studio on Vancouver Island will serve Bron’s production needs on ‘Henchmen,’ the company’s first full-length animated feature film.