For VFX supervisor Jamie Price, the ‘White Spikes’ predators eradicating humans in Chris McKay and Amazon Studios’ original sci-fi thriller had to be agile, scary, and above all, lethal.
Studio prevised over 3,000 shots, postvised over 700, and techvised countless others, working 83 straight weeks until the COVID-19 lockdown, then quickly transitioned to a remote pipeline to complete production on Universal and Justin Lin’s ninth ‘Fast & Furious’ franchise action thriller.
Visual effects supervisor Charlie Tait explains the studio’s death-defying Episode 1 aerial chase and mid-air fight sequences in Marvel Studios and Disney+’s action-packed six-episode MCU outing.
If we were to devise a visual story development process from scratch, what would it be?
The program, a collaboration between Epic Games, Escape Studios, and six European university partners, provides experience in practical applications of Unreal Engine including previsualization, layout, rigging, animation, and integration of real-time workflows.
Ingenuity Studios delivers 65 shots in five stylized, fantastical CG worlds, each for a different starring musical act, for a new campaign highlighting the streaming music platform’s largest playlist.
Overall VFX supervisor Jake Braver, with the help of ILM VFX supervisor Laurent Hugueniot, delivers 2,800 VFX shots depicting a world decimated by plague and a city ruled by supernatural evil, in the 9-part series from CBS Television Studios now streaming on Paramount+.
BAFTA winner James Whitlam will head episodic work as the company brings both departments under one banner, one pipeline, and a new leadership structure.
Leading visualization company provides crucial virtual production support that helped the Netflix mystery thriller’s creative team remotely view work, brainstorm, and make creative decisions shot by shot during the pandemic.
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.
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.
UK animation and VFX house provides previs, ‘scrying magic,’ a fire drake, and host of supernatural elements in Sky TV’s hit series.
Leading VFX studio delivers 430 shots on HBO Max’s long-awaited DC feature redo, picking up where they left off in 2017 on Cyborg, Wonder Woman, and the Flash sequences.
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.
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.
Annual computer graphics conference and exhibition comes to Tokyo, Japan December 14-17.
Mobile facial and body motion-capture iOS app for motion designers and VFX artists capitalizes on Apple’s AR-Toolkit; motion sequences can easily be brought into Cinema 4D.
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.
New five-week program covers an interactive introduction to the real-time 3D platform; features a range of artistic and technical tasks with each participant getting direct feedback from an assigned tutor.
Program now open for anyone to create unique MetaHumans for direct use in Unreal Engine; new innovative cloud-based app can create digital humans - in minutes - almost indecipherable from the real thing.
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.’
