Led by VFX supervisor Ralph Maiers, the studio helped ‘energize’ the magical battle between Agnes/Agatha and her coven of witches in the final episode of the hit Disney+ series.
The studio’s exceptional talent is recognized in 14 different categories, 20 noms in all, for nine different shows, including their latest franchise efforts with the ‘The Croods,’ ‘Trolls,’ ‘She-Ra,’ Guillermo Del Toro’s ‘Tales of Arcadia,’ and the dinosaurs of ‘Jurassic World.’
The live-action adaptation of Mark Millar and Frank Quitely’s graphic novel follows the world's first generation of superheroes that must look to their children to continue their legacy and keep mankind safe; series premieres globally on May 7.
Cloud-based platform makes motion capture projects achievable with multiple users working simultaneously at different locations; see it in action in Cardi B’s new mini reality series Cardi Tries where she creates a video game with the Xsens MVN Animate suit.
Emma Stone and Emma Thompson star in the live-action adventure about the early days of fashionable villain, Cruella de Vil; film simultaneously hits theaters and Disney+ with Premier Access on May 28.
In the third and final discussion, VFX supervisors Steve Meyer and Brad Kalinoski share insights into their innovative visual effects work on shows like ‘Criminal Minds’ and ‘CSI: Crime Scene Investigation.’
Leading VFX company continues its expansion efforts with purchase of Australia-based high-end visual effects studio; combined companies will have close to 800 artists in eight locations around the globe.
Smoking wheels and burning rubber barely scratch the visual effects surface of DreamWorks Animation and Netflix’s high-horsepower street racing thriller, nominated for a Best FX for TV/Media Annie Award for the third season ‘Sirocco Fire Explosion’ finale.
The free virtual 3-day event running April 13-15 will feature presentations from notable creative directors, motion designers, and animation directors; live-streamed event will be available on demand following the show.
Who ya gonna call? Mini-Pufts are out of the bag, as new chapter in the ‘Ghostbusters’ Universe hits theaters November 11.
Whether its dramatic water splashes, dino drool, or bioluminescent beasts, DreamWorks Animation and Netflix’s adventure series, nominated for a Best FX for TV/Media Annie Award, strives for realistic visual effects that push the story forward through color and lighting.
Pôle 3D team honored with the annual award sponsored and presented by Autodesk; winning animated short follows the plight of a polar bear and its cub, while exploring current environmental and socio-political issues.
By using distinctive visual effects as a core series element, almost as a ‘character’ itself, Guillermo del Toro and Netflix’s Emmy Award-winning animated series has garnered an Annie Award nomination for Best FX for TV/Media.
While reports remain unconfirmed by the ‘Wonder Woman’ star, sources claim the disgraced director clashed with the actor after she expressed doubts about aggressive dialogue.
Star-studded virtual ceremony, hosted by barb-slinging Patton Oswalt, included 25 category awards and special honors for VFX supervisor Rob Legato and director Sir Peter Jackson.
VFX supervisors Brigitte Bourque and Marshall Krasser share insights into their innovative visual effects work on shows like ‘Upload’ and ‘9-1-1: Lone Star.’
This year’s set of animated and VFX-driven TV series and video games represents top visual design and production work that rivals feature film visual effects in both quality and quantity.
The MCU’s favorite trickster must work alongside the Time Variance Authority to fix his Tesseract-related, time-altering mistakes; series debuts June 11.
The Sony Pictures Imageworks senior VFX supervisor discusses his studio’s integration of Epic’s game engine technology and real-time workflows into its animation production on a new episode of Netflix’s ‘Love, Death & Robots’ anthology series.
Free resource provides in-depth look into virtual production workflows, new methodologies, remote collaboration, in-camera VFX, animation, and what’s coming next in Unreal Engine 5.
The ‘Charm City Kings’ director will team with ‘Marvel’s the Defenders’ writer Marco Ramirez to create a fresh take separate from the Bay-verse and ‘Bumblebee.’
This year’s batch of animated and VFX-driven feature films shows that despite the pandemic, artists around the world continued pushing the boundaries of visual storytelling.
The titanic smash-em-up demolished previous COVID-19 era U.S. theatrical box office takes with $9.6 million debut and $48.5 million 5-day opening weekend, that coupled with $236.9 million international cume, indicates movie theaters may not be dead…yet.
Studio’s business growth enhanced by Australia’s strong COVID-19 response, generous government incentives, and Australia’s PDV offset; creative team to top 225 at Adelaide location.
Running May 4-6, the conference’s first online edition will provide a platform for the global FMX community to reflect collectively on the disruption and reinvention of the industry; program will include panels, keynotes, and presentations.
