Previs supervisor Brad Alexander and postvis supervisor A.J. Briones take us inside J.J. Abrams’ epic new ‘Star Wars’ adventure.
Tagged With: Maya
The Third Floor’s virtual production supervisor discusses high precision coordination for shooting actors, cameras, stunts, rigs and backdrops on Ridley Scott’s award-winning sci-fi adventure.
Beijing-based Light Chaser Animation Studios employs Solid Angle’s Arnold renderer to produce high-quality computer graphics for China’s ‘Little Door Gods.’
Australian post-production facilities chop render hours on Marvel-based PlayStation series ‘Powers’ with PipelineFX’s Qube!
Photoreal short derived from an old Japanese folk tale employs physical sets built in the duo’s living room augmented with CG creatures and extensions crafted using Autodesk Maya and Mudbox and rendered in Chaos Group’s V-Ray.
Character rigging master Brad Clark returns once again to put the latest Autodesk software suite update to the test.
Iray plug-ins for Autodesk 3ds Max and Maya support NVIDIA’s new distributed rendering solution, Iray Server, now in open beta.
Dover Studios co-founder Andrew Hazelden releases PlayblastVR, a new renderer for Softimage that creates hardware rendered panoramic 360 degree images using OpenGL.
PipelineFX's flexible render farm manager helps the Academy Award-winning Moonbot Studio's latest short overcome local rendering restrictions by taking to the cloud.
After a long career at Western visual effects studios, the industry veteran’s animated feature film directorial debut hits theatres in China.
Users can earn up to $800 in render credit on the newly-discounted service; Google also launches the Render More website and a competition giving one lucky artist the chance to have their work featured on the site.
Created over the course of seven months, dialog-free animated short pairs sound design and a distinctive visual look and adventurous color palette to help tell the story.
Latest free update boasts 100 new and modified features including Maya 2016 support and advanced VR rendering.
Released by Dover Studios co-founder Andrew Hazelden, Autodesk Maya plug-in RocketComp instantly connects Maya to 10 of the most popular desktop compositing applications in use today.
MPC VFX Supervisor Sheldon Stopsack examines the ins and outs of digitally recreating an iconic action hero for Paramount’s ‘Terminator’ franchise reboot.
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.’
Led by Encore VFX supervisor and creative director Stephan Fleet, Encore artists in Vancouver and Los Angeles completed anywhere from 30 to 60 VFX shots per episode.
Bjørn Blaabjerg Sørensen, graduate of The Animation Workshop in Denmark, explains how his team brought a unique claymation aesthetic to their CG animation.
Lola VFX supervisor Trent Claus talks about capturing Paul Bettany’s performance as Vision in Marvel’s latest blockbuster movie.
Autodesk’s Spark 3D printing platform to be embedded in Windows 10 with the intent to make digital 3D models interoperable with Microsoft HoloLens.
Five Supinfocom students teach us a lesson about animated gags using stylized photo-real characters who don’t speak or change expressions.
Renderer for Maya creates hardware rendered panoramic images using OpenGL or DirectX formats, allowing users to create immersive previz renderings of Maya scenes in fulldome, latlong, and cubic panorama formats.
Advances color management workflows across Flame Premium, Maya, Shotgun and RV; simplifies interoperability with industry-standard tools.