Category: Visual Effects
Method’s Los Angeles facility teams with 72andSunny to create 60-second fully-CG 4K ‘Avengers’-themed spot, “Beauty and Might,” for Samsung.
Industrial Light & Magic Principle R&D Engineer and Lead Renderer Olivier Maury discusses recent advancements in digital pyrotechnics.
Proof Inc.’s Ron Frankel talks about the visualization house’s work on ‘Captain America: The Winter Soldier.’
Joss Whedon's Marvel tentpole, ‘Avengers: Age of Ultron,’ opens to $191.3 million in North America, the number-two domestic opening of all time behind ‘The Avengers.’
Scanline VFX founder Thomas Zauner discusses the history and evolution of his company and eventual move into visual effects production as part of AWN’s series of exclusive video interviews from FMX 2014.
Proof Inc. creative director and founder Ron Frankel to present inside look at previs and postvis work from ‘Guardians of the Galaxy’ and ‘Night at the Museum: Secret of the Tomb’ during 2015 FMX conference in Germany.
VFX artist at Minneapolis-based post studio contributes digital artistry to commercials and long-form branded content.
Alongside BBC Wales VFX and special effects companies Millennium FX and Real SFX, Milk VFX wins the British Academy Television Craft Award for outstanding visual effects on the BBC’s ‘Doctor Who’ episode, “Deep Breath.”
Top industry professionals in animation, effects, games and transmedia share their thoughts on the success of the FMX Conference, which celebrates its 20th anniversary in 2015.
3D Training Institute live webinar featuring MPC global recruiter Christina Zervos and MPC animator Julien Deragon held on Wednesday, April 29 will focus on how to start a career in 3D animation.
U.K.-based visual effects house works with agency J. Walter Thompson to deliver a shape-shifting, oil and metal based creature for Shell’s latest spot.
Render farm manager's ability to define custom job types lets visual effects studio manage complex multi-application workflows for blockbuster movie projects such as ‘X-Men: Days of Future Past,’ ‘Race’ and ‘The Colony.’
Scheduled events include “CG Creature Showcase – Monty’s Christmas and a Black Swan,” “Pipeline for Feature Film VFX,” “Commanding the Exodus,” and “MPC Motion Design -- From Small Beginnings to Big Ideas.”
Special presentation of the film -- featuring more than six minutes of footage to be introduced by director Brad Bird -- will screen exclusively in IMAX theatres beginning May 1.
Richard Kidd is named Creative Director/Senior VFX Supervisor; Scott McCullough named Live Action Director & DP.
‘iAnimate at Cinesite’ apprenticeship program provides the opportunity of online training and a two year contract as a trainee animator with Cinesite.
CSU Animation and Visual Effects present the 12th Anniversary of the Australian International Animation Festival, running Friday, May 15 through Sunday, May 17.
Renderer for Maya creates hardware rendered panoramic images using OpenGL or DirectX formats, allowing users to create immersive previz renderings of Maya scenes in fulldome, latlong, and cubic panorama formats.
Director Andrew Thomas Huang, Wolf & Crow and xRez Studio use Autodesk Maya, Flame, Mudbox, ReCap and Memento to create a new CG landscape and VFX for short film.