Directing collective Special Problems has joined The Sweet Shop for commercial and branded content work worldwide.
Tagged With: Work
Bunraku, the second film from acclaimed director Guy Moshe, is a unique blend of cutting-edge computer graphics and choreographed live action, comic book and video game styles, gritty reality and fantasy, and samurai and spaghetti western genres.
ILM visual effects supervisor Ben Snow shares his insights on turning sultry underwater vixens into vicious battling mermaids, all in stereoscopic 3-D
Bakery Relight’s™ pipeline technology plays a key role in Tippett Studio’s latest VFX projects, including, Immortals and The Twilight Saga: Breaking Dawn, Part 1 & 2
Michael Shelton comes on board as Head of 3D after several years at Asylum Visual Effects where he worked as a CG Supervisor and Animation Supervisor.
Bi-coastal production company Stardust has named Tania Staykova Executive Producer of their New York office to oversee live action and animation work.
We've seen robots fighting in a kitchen, 17th century lovers chasing one another through a woman's home, and a fireman rescue a child as a man casually looks on. Now, DIRECTV's Don't Just Watch TV campaign continues with an incredible man-on-wolf battle raging in a suburban home, the product of a brilliant collaboration between the LA and London offices of MPC and Biscuit Filmworks Director Noam Murro, all working via Grey NY.
The Emmy-award winning team at Brainstorm Digital’s New York VFX studio announces Eran Dinur as Visual Effects Supervisor.
Today the Visual Effects Society (“VES”), a member-driven organization of visual effects artists and practitioners, released a Bill of Rights designed to recognize and address numerous industry-wide issues affecting its membership and the visual effects industry as a whole.
In the excerpt, artist Waheed Nasir gives tips on using Painter and shows how he created his "Those Gloomy Hours" piece.
Following the recent additions of producer Jana Heiss and East Coast sales rep Jake Neske, HUSH is geared up to announce the signing of New York-based designer, director and illustrator Jodi Terwilliger.
Following the lead of the success of MPC Creative in the London office, which arose out of the increasing number of clients who want to work directly with MPC during the production process, MPC has decided to expand its offerings to the American market.
Tippett Studio brought their expertise to Columbia Pictures' THE SMURFS. Scott Liedtka, the co-visual effects supervisor, answers some questions about their work.
In the excerpt, artist Andreas Rocha talks about his initial exploratory phase of a painting in Corel Painter.
Since opening its Traverse City, Michigan location in the fall of 2010 I.E. Effects has drawn high-profile projects to the facility, including stereoscopic conversion work on big-budget Hollywood films such as Fox’s Gulliver’s Travels and, more recently, Warner Brothers’ Green Lantern.
In the latest excerpt from The Advanced Art of Stop-Motion Animation, Ken A. Priebe talks with Pete Kozachik, ASC.
Doug Larmour, MPC London's Head of Compositing, launches his blog on AWN, questioning and analyzing the reasons why Inception won the Oscar this past Sunday.