See how the leading visual effects studio delivered 896 shots on Paramount Pictures’ newest entry in the ‘Transformers’ universe, including creating multiple large-scale full CG and digital set extensions, including one that transported the present-day New York skyline back to 1994.
In its latest contribution to the prodigious ‘The Lord of the Rings’ franchise, Prime Video’s expansive series now nominated for 6 Emmy’s including Outstanding Special Visual Effects, pioneering visual effects company Wētā FX, led by VFX Supervisor Ken McGaugh, makes subterranean kingdoms pulse with life and creatures like Balrogs, Snow Trolls, and Wargs be the nastiest they can be.
Reallusion’s newest plugin helps artists harness the power of Character Creator and Zbrush pose tools.
The writer and director of the first animated short whose imagery was entirely generated with OpenAI’s DALL-E takes a deep dive into the nuts and bolts of AI production and what this hard charging, disruptive technology could mean for M&E.
Led by VFX Supervisor Stephane Naze, the company’s Montreal studio, alongside its London and Vancouver facilities, created Groot, Cosmo, their severed Celestial head HQ known as Knowhere, and the fight with Adam Warlock on Marvel Studios’ smash sci-fi adventure hit.
Studio created multiple large-scale full CG and digital set extensions, including one that transported the present-day New York skyline back to 1994; a team of 1,000+ artists across London, Montreal, Bangalore, LA, Toronto, and Adelaide delivered 896 shots, including 18 of the movie’s characters.
Executive Producer Mike Gunton and Showrunner Tim Walker discuss how they went back in time again, using VFX from MPC, to showcase the lives of new dinosaurs, new habitats, and new scientific discoveries, taking viewers around the world on an epic adventure, now streaming on Apple TV+.
Noted ‘Lord of the Rings’ illustrator John Howe, Runway co-founder and CEO Cristóbal Valenzuela, and DeepAI founder Kevin Baragona weigh in on ethical and legal challenges facing the creation and commercial use of AI-generated imagery.
From giant red spaceships to tentacled, toothy Abilisks, the studio’s VFX and animation teams, led by VFX supervisor Guy Williams and animation supervisor Michael Cozens, pull out all the stops for the final chapter of James Gunn’s MCU trilogy.
Dinosaurs took a bow with artist David Popa’s larger-than-life landscape art, featuring Tyrannosaurus rex, Triceratops and Hatzegopteryx, shared around the world; new episodes of the epic natural history docuseries are now available on Apple TV+.
U.K.-based kids’ media company taps Uganda-based Creatures Animation to produce the 3DCG educational series portraying African Culture and fostering essential life skills such as confidence, kindness, and teamwork.
Production VFX Supervisor Ben Snow discusses key visuals on Paramount’s new fantasy adventure, including Industrial Light & Magic’s work on a shapeshifting Owlbear, a Gelatinous Cube, the surreal Ethereal Plane, and lots of magical spells.
Show’s sophomore outing continues to bring Earth’s history to life with new dinosaurs, new habitats and scientific discoveries while taking viewers around the world on an epic adventure, debuting with a global five-day, week-long event in May.
The studio delivers 500+ seamless VFX shots for the gripping climax – involving a railway showdown - of the Netflix original dark comedy about a young woman who takes revenge on her abusive alcoholic husband.
Based on 63,000+ digital media submissions created by 4000+ students, the downloadable report names New3edge in France as #1 in the 50 top international schools list, with Savannah College of Art and Design in the U.S. ranking #2.
With an exclusive ‘Wishing Star Battle’ breakdown reel to help illustrate, the visual effects supervisor takes us behind the digital curtain, sharing lookdev mandates, design directives, and production realities on how our titular feline hero, as well as the Wolf, Perrito and other characters came to life, on the Oscar-nominated 3DCG animated feature.
For 2 years, Production Designer Ramsey Avery and his team never slept, generating 38,000 pieces of concept art – illustrations, digital models, videos, sketches, and paintings – to support 9,500 VFX shots produced by 20 vendors and their 1,500 artists on Prime Video’s hugely ambitious Middle-earth saga.
VFX supervisor Paul Santagada’s team used CG to build out and assemble the film’s physical Rust Bank Cemetery and Underworld sets, integrating plate elements, performance passes, secondary bits, and a bunch of fluid, smoke, breaths, and bubbles - delivering 275-300 shots across around 12 sequences on the stop-motion comedy horror film, now streaming on Netflix.
Producer Mark Swift talks about the development of DreamWorks Animation’s blockbuster adventure-comedy now in theaters, and why the long-awaited swashbuckling feline’s return is his favorite of all the films he’s worked on.
Joel Crawford, director of DreamWorks Animation’s latest adventure-comedy, talks about Kurosawa, Sergio Leone, and the making of his new film about the famous whiskered adventurer’s coming to grips with mortality, a brilliant, instant classic, now in theaters.
For Production Designer Nate Wragg, the daredevil feline star and supporting characters of DreamWorks Animation’s new 3DCG comedy adventure, launching today in theaters, sport more exciting, painterly looks that draw heavily from their illustrated origins.
In an AWN exclusive, see how the studio designed and produced the signature opening chase scene, where cops and robbers careen across Los Angeles, in the studio’s 3DCG action comedy about a crackerjack criminal crew of animal outlaws attempting to become model citizens, starring Sam Rockwell, Craig Robinson, and Awkwafina.
In his animation directorial debut, the manga illustrator and character designer on anime like ‘I Want to Eat Your Pancreas’ and ‘I Fall in Love With You Through a Robot’ explores the mystery and fragility of life and death through the story of three troubled teenagers who summon a spirit that can answer any question.
The architecture student/concept artist discusses her challenges in pursuing an artistic career in Morocco.
Animation supervisors Jeff Riley and Malcolm Lamont share how director Henry Selick encouraged them to break all the rules on his new film, eschewing CG for in-camera practical effects wherever possible and employing lots and lots of gooey museum gel.
