Costing $180 million to produce, Brad Bird’s live action fantasy adventure could see up to $140 million in losses by the time it finishes its global rollout.
As one of the main visual effects vendors on the film, Method Studios delivers 247 complex VFX shots for ‘San Andreas,’ including the entire downtown Los Angeles sequence, in which an earthquake decimates the city.
Alongside ECD Kaan Atilla and EP Cortney Haile, ArsenalFX founder Mark Leiss launches Santa Monica, CA-based content creation studio specializing in design, branding, animation and visual effects for the commercial and entertainment industries.
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.
Los Angeles-based independent filmmaker Pablo Fernández Eyre creates an animated tribute to George Miller’s ‘Mad Max: Fury Road.’
Adobe plans to integrate Mixamo’s technology into Photoshop so designers can more easily create, customize, manipulate, rig and animate 3D objects.
ASC president Richard Crudo is re-elected for his sixth term; Owen Roizman, Kees Van Oostrum and Lowell Peterson are re-elected as vice presidents.
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.
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.
VFX house Digital Domain is honored at the 2015 AICP Awards for Best Visual Effects for its work on the Destiny “Become Legend” commercial.
Immersive “through-the-ages” ad campaign launching the all-new Honda HR-V Crossover includes two new spots, ‘Give and Take’ and ‘Great Thinking Inside.’
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.’
Project continues Disney's recent trend of remaking its animated classics into live-action films, beginning with ‘Maleficent’ and ‘Cinderella,’ and now including ‘Mulan,’ ‘Winnie The Pooh,’ ‘The Jungle Book,’ ‘Beauty and the Beast,’ ‘Dumbo’ and a new movie starring ‘Peter Pan’s Tinker Bell.
Industrial Light & Magic helps Iron Man handle The Incredible Hulk with a new armoured suit in Marvel’s ‘Avengers: Age of Ultron.’
Does George Miller’s latest ‘Mad Max’ film have the same “cyan/orange” look dogging so many recent big action movies?
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.
‘Munchkin’ writer Will Widger to adapt Eisner Award-winning supernatural-themed ‘Lumberjanes’ comic for 20th Century Fox.
Game Design Engineering student Christian Sasso serves as lead engineer for virtual reality game ‘We R Ball’ for Google Cardboard using Unity and C#.
Ubisoft is showcasing new content from three of its highly-anticipated titles and announcing several exciting new games at the 2015 Electronic Entertainment Expo.
Former Walt Disney Studios executive joins entertainment advertising and marketing agency as Creative Producer.
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.’