Umberger amplifies live-action storytelling with dynamic effects to create a uniquely energetic visual extension of the music.
Tagged With: VFX
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.
New alliance gives the two VFX houses a combined staff of over 525 artists worldwide, with capacity for 675 at their studios in London, Vancouver and Montréal.
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.’
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.
Australian animation and visual effects studio completes more than 1,000 shots for Seth MacFarlane’s raunchy sequel, ‘Ted 2.’
In this two-part interview from FMX 2015, Digital Domain founder and former CEO Scott Ross discusses the major issues affecting today’s visual effects industry, including flawed economic models, lack of a trade association, studio wage collusion, and government subsidies.
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.
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.
The Academy invites 26 new members to join the Short Films and Feature Animation branch; 23 new members are invited to join the Visual Effects branch.
The Academy ups the number of eligible films in the VFX category to 20; Short films qualifying via a theatrical release must now have a theater run in Los Angeles County for at least seven consecutive days with at least one screening per day.
Tim Clark and Karine Lafranchise are selected as trainee animators and will be joining the feature animation team at Cinesite’s Montréal studios to work on ‘Charming.’
Hollywood-based VFX house Flash Film Works relies on Fusion Studio from Blackmagic Design for compositing work on car chases, helicopter stunts and intricate fight scenes for 20th Century Fox’s ‘Spy.’
VFX supervisor Holger Voss talks landslides, daring escapes and setting up a Montreal studio for Warner Bros. and Village Roadshow's disaster movie.
‘Interstellar’ VFX supervisor Andrew Lockley details how his team used cineSync to help develop the groundbreaking visual effects for numerous Christopher Nolan films.
Blur Studio creates mind-blowing visuals for game trailers for titles including 505 Games’ ‘Tom Clancy's Rainbow Six Siege,’ Ubisoft’s ‘ADR1FT’ and Bethesda Softworks’ ‘Dishonored 2.’
Further fortifying its footprint within France and abroad, French animation studio Mikros plans to hire 400 animators for its Paris, Belgium and Montreal studios.
Tefft Smith II discusses the extensive use of pitchvis, previs, techvis and postvis on Brad Bird’s new fantasy adventure.
Stuttgart, Germany-headquartered CG house expands U.K. team led by Mark Gallie with the appointments of EP Caroline Holton, CD Arren Perfetti and production head Dave Weygang.