Company reveals first set of updates to its flagship editing system, centered on new import / export features and streamlined header bar.
Led by VFX supervisor Phil Jones and VFX producer Matthew Pellar from their Toronto facility, the studio shifted into warp speed during the pandemic to deliver 570 shots for the hit Paramount+ sci-fi drama.
Produced with 72andSunny Los Angeles, ‘Fantastic Voyage | Premiere Pro’ follows a creator’s escapist adventures spotlighting endless possibilities in storytelling.
Leading visualization company and their ARENA virtual camera system helped the filmmaker and his VFX team plan, visualize, shoot, and deliver key astronaut spacewalk and airlock death sequences on their Oscar-nominated, VES Award-winning sci-fi drama.
First announced this past January, deal brings new artists, technical experts, and strategic locations to the company’s expanding base of business units.
Watch a clip of Oscar winners Ben Burtt and Craig Barron sharing insights into the groundbreaking special effects on Humphrey Bogart’s 1950 film, ‘Chain Lightning,’ his last at Warner Bros.
Agency that represents visual effects and post-production HoDs and crews welcomes six new professionals as demand for VFX and post work continues to increase.
Running May 4-6, the online even has announced additional talks and highlights, including ‘From 2D to 3D: The Craft of Tom & Jerry,’ more ‘Concept Art Track’ speakers, and a panel by the Animation Media Cluster Region Stuttgart.
Fresh off Soul’s double Oscar-winning performance, the studio, along with Tina Fey and a gang of five heck-raisers, returns to the enchanting and mystical world of the Great Before, in a brand new short directed by Kevin Nolting.
Industry veteran brings 20+ years’ experience as an animation director and supervisor at leading VFX studios; his appointment further broadens the company’s global animation team.
Artist Yemi Faleti used Premiere Pro with Boris FX’s Sapphire and Red Giant’s VFX suite to produce the rapid cuts and melting colors in his CG piece for Universal Music Group’s °1824 division.
Once again, the technology company’s professional GPUs are behind all five VFX Oscar nominees; the 93rd annual Academy Awards take place this Sunday, April 25.
Digitized shots of Icelandic snow, glaciers, and misty weather, coupled with real-time camera tracking and Unreal Engine, meant high-resolution environment projections, and lighting, could be captured in-camera to provide unprecedented realism for onstage shooting, in George Clooney and Netflix’s Oscar-nominated sci-fi drama.
The free virtual event, running April 26-28, brings together over 150 speakers from a diverse set of industries; featured topics include Cloud/Pixel streaming in Real-Time; digital humans/virtual agents; virtual production; and how real-time is transforming animation.
Tech giant’s conference program will examine the future and boundaries of animation and VFX: the latest developments in USD; retopology tools for 3ds Max; Bifrost for Maya for visual programming; and remote studio collaboration with Shotgun.
Kevin Nolting and Lee Harting, respectively, win Eddies at 71st annual ceremony, held Saturday night, that recognizes outstanding editing in 14 categories of film, TV, and documentaries.
MARZ VFX supervisor Ryan Freer will share the often-invisible VFX on Marvel’s first Disney+ series; three presentations will peek behind the curtain surrounding the year’s first blockbuster VFX-driven tentpole to see monster making up close and personal.
Available now, the new version streamlines color grading through FX and editorial with machine learning features, more tightly integrated toolset, and enhanced support for remote review sessions.
Founder and CEO Jensen Huang’s keynote shares breakthroughs in building virtual worlds through a convergence of technologies; new Omniverse Enterprise 3D design platform will soon be widely available, allowing for real-time global collaboration across multiple software suites.
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.’
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.
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.’
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.
