Game industry veteran appointed studio manager of Framestore’s immersive department based in Montreal.
Tagged With: Fantastic Beasts and Where to Find Them
Veteran visual effects supervisor, who worked on ‘Avatar’ and ‘Avengers: Infinity War,’ will oversee team at studio’s Bournemouth facility.
Johnny Depp, in character, joins Eddie Redmayne and Jude Law to tease ‘Harry Potter’ fans with Hall H presentation.
New location due to open in early 2018 will be Academy Award-winning VFX company’s sixth international facility.
Montréal local served as CG supervisor on films including BAFTA-nominated ‘Fantastic Beasts and Where to Find Them,’ Denis Villeneuve’s BAFTA-nominated ‘Arrival,’ Ridley Scott’s ‘Alien: Covenant’ and the upcoming ‘Geostorm.’
‘War for the Planet of the Apes,’ ‘The Jungle Book,’ ‘Kong: Skull Island,’ ‘Fantastic Beasts and Where to Find Them,’ ‘Ghost in the Shell,’ ‘Valerian and The City of a Thousand Planets’ and ‘Doctor Strange’ receive awards for feature film VFX at 2017 Australian Effects & Animation Festival.
The veteran Framestore VFX supervisor talks about previs, virtual production and visual development on the first cinematic installment about the magical creatures of J. K. Rowling’s ‘Harry Potter’ universe.
The One Club for Creativity awards has honored Framestore with 49 trophies across five projects, including 18 gold awards for ‘Field Trip to Mars,’ all for the production company’s innovative work in virtual and augmented reality.
Double Negative veteran to oversee leading VFX for feature film, including the upcoming ‘Blade Runner 2049.’
International conference on animation, effects, VR, games and transmedia runs May 2-5 in Stuttgart, Germany.
Expanded ‘Fantastic Beasts Virtual Reality’ experience will be available for purchase on several VR platforms later this year.
Expansion of the Virtual Reality Studio headed by global head of VR Amy Small marks the proliferation of creative tech exploration.
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.
Pixar’s ‘Finding Dory,’ LAIKA’s ‘Kubo and the Two Strings,’ and Disney’s ‘Moana’ and ‘Zootropolis’ (‘Zootopia’) receive nominations for best animated feature; British short animation nominees are ‘The Alan Dimension,’ ‘A Love Story’ and ‘Tough.’
Montreal-based visual effects studio delivers 126 VFX shots for Harry Potter spinoff, including many featured creatures and their environments, the magical reconstruction of a destroyed room, and the elaborate MACUSA wizard headquarters.
Academy’s Visual Effects Branch to view 10-minute excerpts from each of the shortlisted films at the VFX Bake-Off held Saturday, January 7, 2017.
Led by VFX supervisor Andrew Morley, Cinesite delivers just under 100 shots for ‘Fantastic Beasts and Where to Find Them,’ including environments of prohibition-era Manhattan, set extensions and the creation of a magical dinner.
Walt Disney Animation Studios feature tops the North American box office with $18.8 million; Illumination Entertainment’s ‘Sing’ rolls out to international territories ahead of its domestic debut.
MPC returns to the world of Harry Potter, delivering 220 VFX shots including 3D environments of prohibition-era Manhattan, set extensions, magic effects, and the creation of three beasts: Demiguise, Occamy and Billiwig.
Under the lead of production VFX supervisor Christian Manz, Oscar-winning VFX house helps develop and animate a range of fantastical CG characters for J.K. Rowling’s new spinoff prequel to the Harry Potter franchise.
Makoto Shinkai’s anime feature debuts to $41 million in China, and passes Hayao Miyazaki’s ‘Howl’s Moving Castle’ to become the second-largest-grossing Japanese film of all time; Disney’s CG-animated ‘Moana’ rules North American box office for second weekend in a row.
Deluxe Entertainment-owned VFX house contributes to the film’s opening and closing sequences in addition to environmental and creature work, as well as reimagining the look of the ‘apparate’ and ‘disapparate’ effects from the Harry Potter films through which a wizard magically teleports into or out of a scene.