Unique, annual five-day festival for digital artists running September 15-19 announces a fresh line-up of 31 renowned speakers, regional meet-ups, and THU TV.
Tagged With: VFX
Industrial Light & Magic VFX supervisor Eddie Pasquarello takes AWN on a whirlwind tour of the studio’s work on director Brad Bird's live action Disney feature.
Helping bring all the mayhem and madness of ‘Mad Max: Fury Road’ to the screen was Iloura’s Sydney studio, led by VFX supervisor Tom Wood. With two major sequences – a toxic sandstorm and evil warlord Immortan Joe’s stronghold, The Citadel – plus hundreds of stunts and vehicle crashes to contend with, Iloura was involved in more than 1,700 VFX shots. Here’s a selection of some of their great work on the film.
Iloura’s VFX supervisor tackles the effects for George Miller’s iconic post-apocalyptic adrenaline-filled feature, including a toxic sandstorm and evil warlord Immortan Joe’s stronghold, The Citadel.
VFX house Digital Domain is honored at the 2015 AICP Awards for Best Visual Effects for its work on the Destiny “Become Legend” commercial.
Leading DI house colorist Stephen Nakamura employs Blackmagic Design’s DaVinci Resolve for D-Cinema and Dolby Vision color grades for director Brad Bird’s sci-fi adventure ‘Tomorrowland.’
Non-profit organization dedicated to the advancement and development of previs across disciplines including feature film, television, commercials, games, visualization and architecture announces the first of many planned initiatives.
New television ad for Marvel’s ‘Ant-Man’ reveals additional footage, showcasing the film’s humorous edge but still packed with plenty of action.
Swedish VFX and animation studio Fido creates hundreds of 80s-tinged VFX shots with everything from green screen compositing to characters riding atop a Tyrannosaurus Rex for David Sandberg’s ‘Kung Fury.’
Burbank and Vancouver-based visual effects studio creates a CG river of ooze, CG ships, CG set extensions and more for the second season of WGN America’s first original series.
Quebec government is lending Montreal-based visual effects studio $1 million to expand its operations, part of a $4 million investment.
Thirteen-year commercial production veteran to oversee operations, sales and marketing for Digital Domain’s Advertising and Games division.
Rounding off four days of speakers and presentations, the 20th Anniversary edition of the FMX Conference on Animation, Effects, Games and Transmedia concludes with a special screening of ‘Avengers: Age of Ultron’ with Marvel VFX Supervisor Christopher Townsend in attendance.
Veteran Flame artist Toby Brockhurst has worked on effects-driven spots for major brands such as Kia, Guinness, Volvo, EA Sports and BMW.
The Third Floor studio manager Duncan Burbridge discusses the company’s previs business as well as their recent work on ‘300: Rise of an Empire.’
Entering retirement, humility and grace continue to define the FMX Conference founder and creator of the world-renowned Animationinstitut in Baden-Wuerttemberg.
Martin Preston discusses the use of the Arnold renderer from Solid Angle on 'Gravity,’ and his role as head of research and development at Framestore.
Industrial Light & Magic Principle R&D Engineer and Lead Renderer Olivier Maury discusses recent advancements in digital pyrotechnics.
USC’s chief visual officer Paul Debevec outlines the creative technology research underway, as well as the school’s groundbreaking work at the Oscar-winning film ‘Gravity.’
Scanline VFX founder Thomas Zauner discusses the history and evolution of his company and eventual move into visual effects production as part of AWN’s series of exclusive video interviews from FMX 2014.
Alter Ego VFX team leverages Golaem Crowd for ‘Bicycles,’ featuring real and CG rider-less bikes traveling across Canada.
VFX artist at Minneapolis-based post studio contributes digital artistry to commercials and long-form branded content.