Twenty scientific and technical achievements involving 11 distinct investigations are selected for further consideration for 2015 Academy Awards.
Tagged With: VFX
District Judge Lucy Koh rejects the requests of Disney, DreamWorks, Pixar, Sony and other Hollywood studios to dismiss claims the companies violated antitrust laws by conspiring to suppress the wages of animation and VFX artists.
VFX supervisor Pete Bebb walks us through DNeg’s extensive work on robotic assassins, digital doubles and Arnold Schwarzenegger’s Guardian in the latest ‘Terminator’ franchise flick.
VFX supervisor Marten Larsson discusses how Digital Domain turned arcade characters Donkey Kong, Centipede and PacMan into Earthly invaders in Columbia Pictures’ new action comedy.
VES guidelines for the usage and release of work-for-hire materials presented as part of a demo reel portfolio by VFX facilities and practitioners are aimed at providing reasonable access for artists to showcase their work while protecting the ownership rights of studios and producers.
Other featured talks at VIEW 2015 to include Blue Sky’s Scott Carroll on ‘The Peanuts Movie,’ Pixar’s Kim White on ‘Inside Out’ and Sony’s Michael Kurinsky on production design for ‘Hotel Transylvania 2.’
VFX studio Luma helps Tool of North America create an immersive virtual driving experience, “A Drive Through Time,” for Infiniti.
Former VP of Production at Sony Pictures Imageworks takes the helm of FuseFX’s Vancouver operation, which is currently producing visual effects for shows for FOX, A&E, Syfy and CBS.
Fully-integrated ray-traced rendering now available for The Foundry's industry-standard compositing tool.
A 30-year industry veteran, Welch has extensive experience in Visual Effects and Production management, and knows the entertainment business on a ground-up operational and financial basis.
Beijing’s BaseFX founder and CEO Chris Bremble discusses the process and challenges of producing animation and visual effects for the most successful feature film in Chinese history.
The Colonie welcomes assistant editors Emily Hayes and Stephania Dulowski to its creative team, moves Ben Pokorny to the company’s VFX/finishing department.
MPC NY teams with Arnold Worldwide and RESET’s Johnny Hardstaff to create a new spot for New Balance’s “Always in Beta” global brand campaign.
With MARI 3, 3D paint artists can iterate faster, manage complexity better and produce higher quality results.
FuseFX artists are nominated for Outstanding Visual Effects for the Marvel's Agents Of S.H.I.E.L.D. episode “The Dirty Half Dozen” and for Outstanding Special Visual Effects In A Supporting Role for the American Horror Story episode “Edward Mordrake, Part 2.”
ftrack 3.2 comes out next week with new API and customizable Workflows, as well as an app to come later in the year.
Pixar Animation Studios plans to release its USD software, which enables dramatically increased efficiency across workflows, as an open-source project by the summer of 2016.
Directed by Tim Miller with VFX from Blur Studio, 20th Century Fox’s ‘Deadpool’ arrives in theaters on February 12, 2016.