Company strengthens its creative offerings by naming new heads of 3D and 2D departments, respectively.
Tagged With: Double Negative
The Motion Design Department’s trained students qualify for fully featured EDU licenses of Houdini FX for home use and a one-year Core or six-month FX license upon graduation.
Since its launch this past January, studio has expanded quickly, working on a number of series, and will soon begin VFX production with Sky Studios on HBO’s ‘The Third Day’ mini-series.
Bonnie Arnold joins Sarah Smith and Julie Lockhart to oversee film based on series of children’s books by writer / director known for ‘Yesterday,’ ‘Four Weddings and A Funeral’ and ‘Love Actually.’
UK production house, led by Sarah Smith and Julie Lockhart, will co-develop and distribute family animated features in theatres worldwide.
Veteran visual effects and CG supervisor with 20 years’ experience brings his creative vision to studio as it ramps up productions.
Recruiter, formerly at Dneg TV, Double Negative and the Mill, plans to expand studio’s creative team on projects like ‘Wonder Woman 1984’ and ‘Spider-Man: Far from Home.’
Award-winning VFX house expands Vancouver and Montréal facilities, hires veteran television and VFX producer Michelle Eisenreich to lead Vancouver operations.
Former All3Media general counsel to oversee London animation studio’s legal and business affairs, business strategy and development, commercial operations and the implementation of its long and short-term strategic plans.
Second major update of 2018 brings interface updates, cross-substance improvements and a host of new features for amateurs and pros alike.
Day-long event open to SIGGRAPH 2018 attendees with multiple sessions from industry leaders including Double Negative and Theia Interactive.
Production VFX supervisor Dan Glass doubles down on the creation of a more unified Colossus with simultaneous facial capture and voice performance, and geometry-based character animation.
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.
Overall VFX supervisor Peter Chiang talks previs, techvis, drones and Chinese sound stages on Steven DeKnight’s sequel to Guillermo del Toro’s 2013 sci-adventure romp.
Production VFX Supervisor Geoff Baumann assembled and managed the movie’s heavy-hitter vendor lineup to complete more than 2,000 visual effects shots for Marvel’s most recent hit.
Group of 20 nominees draws on two decades of experience and technological advances, delivering shots that were previously unimaginable.
DNeg VFX supervisor Paul Lambert details the creation of futuristic Los Angeles cityscapes, the holographic Joi, and the visuals for the final act of director Denis Villeneuve’s follow-up to the 1982 sci-fi film noir classic by Ridley Scott.
Does the Middle Kingdom’s growing use of quality previsualization efforts portend greater VFX-heavy film success to come?
This winter offers a franchise reboot, massive destruction on a global scale, and the return of Paddington the bear, but the real story just might be the worlds of wonder conjured up for the Disney adaptation of ‘A Wrinkle in Time.’