MPC VFX Supervisor Sheldon Stopsack examines the ins and outs of digitally recreating an iconic action hero for Paramount’s ‘Terminator’ franchise reboot.
SIGGRAPH announces the complete lineup for this year’s Production Sessions program for its 42nd annual conference, set for August 9-13 at the Los Angeles Convention Center.
600-student educational institution offering a unique curriculum fusing digital art, engineering and entrepreneurship, will relocate to a new site at 191 Baypointe Parkway in San Jose, CA.
ILM VFX supervisor Ben Snow discusses the enormity, complexity and challenges of the work his team wrestled with on Marvel’s latest superhero adventure.
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 alliance gives the two VFX houses a combined staff of over 525 artists worldwide, with capacity for 675 at their studios in London, Vancouver and Montréal.
Led by VFX Supervisor Seth Maury and VFX Producer Laura Schultz, MPC Vancouver completed 250 shots for Shawn Levy’s ‘Night at the Museum: Secret of the Tomb.’
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.
Lightweight inertial capture suits allow production company MRC to lay down Ted’s performance live on set.
In this four-part interview from FMX 2015, Christopher Townsend, the overall VFX Supervisor on ‘Avengers: Age of Ultron,’ provides a detailed overview of the key components of the Marvel Studios tentpole.
Australian animation and visual effects studio completes more than 1,000 shots for Seth MacFarlane’s raunchy sequel, ‘Ted 2.’
In this two-part interview from FMX 2015, Digital Domain founder and former CEO Scott Ross discusses the major issues affecting today’s visual effects industry, including flawed economic models, lack of a trade association, studio wage collusion, and government subsidies.
Vancouver-based visual effects studio relies on cloud-based creative management tool ftrack to deliver stunning effects on a tight deadline for Syfy’s ‘Continuum’ and TBT’s ‘Falling Skies.’
With an extensive list of credits including ‘Jupiter Ascending,’ ‘The Best of Me,’ ‘X-Men: Days of Future Past,’ ‘Riddick,’ ‘White House Down’ and ‘Underworld Awakening,’ Marc A. Rousseau joins Cinesite’s Montréal Studio as VFX Executive Producer.
Led by Encore VFX supervisor and creative director Stephan Fleet, Encore artists in Vancouver and Los Angeles completed anywhere from 30 to 60 VFX shots per episode.
Universal's ‘Jurassic World’ holds off Pixar’s ‘Inside Out’ for the second weekend in a row; Seth MacFarlane R-rated comedy sequel ‘Ted 2’ underwhelms with $33 million debut.
The Academy invites 26 new members to join the Short Films and Feature Animation branch; 23 new members are invited to join the Visual Effects branch.
Previs supervisor Todd Constantine talks previsualization of earthquakes, tsunamis and bursting dams on the hit disaster movie ‘San Andreas.’
Winners of the 2015 Autodesk sponsored CG Student Awards are announced, with Gnomon School of Visual Effects named School of the Year for the second consecutive year.
The Academy ups the number of eligible films in the VFX category to 20; Short films qualifying via a theatrical release must now have a theater run in Los Angeles County for at least seven consecutive days with at least one screening per day.
Tim Clark and Karine Lafranchise are selected as trainee animators and will be joining the feature animation team at Cinesite’s Montréal studios to work on ‘Charming.’
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.’
Immersive short from Portland-based experimental filmmaker Kurtis Hough combines animation and live action to create an awe-inspiring look at the universe.