Under the supervision of model maker Mark Anderson, 32TEN Studios creates 19-foot “miniature” models of the massive gates that welcomed visitors to the prehistoric theme park Jurassic World.
Category: Visual Effects
Iloura VFX supervisor Glenn Melenhorst discusses the return of Ted, the politically incorrect talking teddy bear that stars in Seth MacFarlane’s adult comedy sequel.
Japanese animated feature ‘Miss Hokusai,’ winner of the Jury Award at Annecy 2015 from director Keiichi Hara and Production I.G., and Marvel’s ‘Ant-Man’ set to open Fantasia 2015.
Shotgun RV custom shader developed by The Mill enables filmmakers to review scenes for 360-degree and virtual reality projects.
Former Light of Day creative director Leo Nguyen joins Carbon VFX with an impressive skillset that spans across art direction, illustration, 3D, motion graphics and editing.
Software update introduces important advances in physically based rendering for VFX and CG animation.
London-based VFX house delivers 1,000 VFX shots for BBC mini-series ‘Jonathan Strange & Mr Norrell,’ including 3D environments, crowd simulations, water, mud and sand effects simulation, modelling and texturing, matte painting, animation and 2D work.
Montreal-based visual effects studio combines practical elements with CG to create a realistic look for Brad Bird’s ‘Tomorrowland,’ including digital matte painting, bluescreen compositing, scene enhancements, CG effects and simulation.
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.
ILM VFX supervisor Ben Snow discusses the enormity, complexity and challenges of the work his team wrestled with on Marvel’s latest superhero adventure.
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.
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.