In this VFX breakdown reel, see how the horned gator was created, including skin textures and a medley of facial expressions that made the reptilian star a series favorite.
Tagged With: Dan Deleeuw
Design and VFX studio delivers high-tech retro and futuristic time-travel 3D graphics on Marvel Studios and Disney+’s hit MCU series.
The visual effects giant delivered 500 shots on Marvel Studios and Disney+’s latest MCU episodic adventure, creating the pyroclastic-like trans-temporal monster, Alioth, along with Alligator Loki and the cloudy, ambiguous world where everything pruned by the TVA is deposited.
Heading into this coming Oscar Sunday on February 9th, catchup on AWN’s coverage of the films and creative teams nominated for this year’s Best Visual Effects.
Contenders in the animated feature, animated short film and visual effects categories share their initial reactions to their nominations for Oscar gold.
Dean DeBlois’ ‘How to Train Your Dragon: The Hidden World,’ Jérémy Clapin’s ‘I Lost My Body,’ Sergio Pablos’ ‘Klaus,’ Chris Butler’s ‘Missing Link,’ and Josh Cooley’s ‘Toy Story 4’ receive nominations for Best Animated Feature.
‘A Shaun The Sheep Movie: Farmageddon,’ ‘Frozen 2,’ ‘Klaus’ and ‘Toy Story 4' get nods in Animated Film category; ‘1917,’ ‘Avengers: Endgame,’ ‘The Irishman,’ ‘The Lion King’ and ‘Star Wars: The Rise of Skywalker’ nominated for Special Visual Effects.
The studio revisits and revamps Hulk, Marvel’s smash-‘em-up, fan-favorite digital character they first brought to the screen back in 2003.
Led by VFX supervisor Simon Stanley-Clamp, the studio delivers 264 visual effects shots for Marvel’s record-breaking box office hit, ‘Avengers: Endgame.’
Leading up to Oscar Sunday on February 24th, catch up on AWN’s coverage of the films and creative teams nominated for Best Visual Effects at the 91st Academy Awards.
Ten Oscar hopefuls vie for nominations at the Academy of Motion Picture Arts & Sciences’ annual Visual Effects Bake-Off.
VFX supervisors Dan DeLeeuw and Kelly Port discuss the challenges of capturing the nuanced performance of Josh Brolin as the philosophical antagonist in ‘Avengers: Infinity War.’
Method VFX supervisor Greg Steele oversees delivery of 430 shots for the culmination of the Marvel Cinematic Universe, including upgrades for Rocket and Groot featuring hand-keyed character animation.
Weta Digital and Digital Domain transform Josh Brolin’s motion capture performance into a believable and imposing CG adversary.
Senior previs/postvis supervisor Gerardo Ramirez discusses the highlights and challenges of the fourteenth collaboration between The Third Floor and Marvel Studios.
Award-winning VFX house crafts CG environments, digi-doubles and more, delivering 253 shots for the opening act of the final arc of the current Marvel Cinematic Universe narrative.
From fiery photorealistic oil rig disasters and fractal geometry-based inter-dimensional mind-bending psychic excursions, to a digitally recreated Carrie Fisher as young Princes Leia, this year’s crop of ten best visual effects productions presented at the Motion Picture Academy represent another reminder of the breadth, depth and range of creative artistry and talent within the industry.
TTF previs and postvis supervisors Gerardo Ramirez and Austin Bonang discuss key fight sequence visualization efforts on Marvel’s hit superhero feature.
VFX supervisor Greg Steele walks us through Iron Man, Cap and the Winter Soldier’s final fight in Marvel’s hit action-adventure.
Design-driven production company creates main-on-end title sequence for Marvel blockbuster using C4D software suite as a central content creation production tool in delivering 3D elements.
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.
The Oscar-nominated VFX supervisor breaks down some of the key grand finale action on Marvel’s second ‘Captain America’ hit.