MPC VFX Supervisor Sheldon Stopsack examines the ins and outs of digitally recreating an iconic action hero for Paramount’s ‘Terminator’ franchise reboot.
Cospective and Shotgun join forces to offer VFX, animation and post studios a faster way of working with built-in Shotgun Review portal built directly into cineSync.
New subscription licensing plan offers fully supported version of Qube! render farm management software for $15/month for commercial use and $10.50/month for educational use.
Previs supervisor Todd Constantine talks previsualization of earthquakes, tsunamis and bursting dams on the hit disaster movie ‘San Andreas.’
New release of popular subdivision surface library brings improved performance and reduced memory consumption, while continuing to leverage the massive parallelism available on modern GPU and CPU architectures.
Blackmagic digital film cameras were used to shoot scenes and stunt work in ‘Mad Max: Fury Road’ and ‘Avengers: Age of Ultron,’ while Fusion Studio was used for compositing and to help create action sequences for ‘Spy’ and ‘Barely Lethal.’
Multi-award winning animation and visual effects studio wins Gold National ADDY for 3D-animated architectural projection mapped video, ‘The Monument Comes Alive, celebrating Union Station Kansas City’s Centennial.
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.
Unprecedented innovation and integration across Creative Cloud Desktop and mobile apps; new Adobe Stock service debuts.
Live workshops teach actors, producers, directors and animators the art of emerging motion capture technology using leading markerless mocap developer’s tools.
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.
Supervisor Gerardo Ramirez discusses key facets of The Third Floor’s previs, postvis and techvis efforts on Marvel’s latest superhero blockbuster.
Adobe plans to integrate Mixamo’s technology into Photoshop so designers can more easily create, customize, manipulate, rig and animate 3D objects.
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.
Free update with Autodesk 3ds Max 2016 compatibility adds VR rendering capabilities and multiple V-Ray RT GPU enhancements including improved volume rendering, distributed rendering, and global illumination.
Lola VFX supervisor Trent Claus talks about capturing Paul Bettany’s performance as Vision in Marvel’s latest blockbuster movie.
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.’
Industrial Light & Magic helps Iron Man handle The Incredible Hulk with a new armoured suit in Marvel’s ‘Avengers: Age of Ultron.’
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.’