VFX supervisor Max Wood oversees 1,800 visual effects shots, filled with a CG gown of moths, three snarling Dalmatians, a wily Terrier, and a fearless, eye-patch-wearing Chihuahua named Wink, in the hit origin story for one of Disney’s most iconic villains.
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.
The software’s biggest update ever introduces a new shading system, stylized looks, and XPU, which provides live rendering capabilities for immediate feedback on assets.
Led by VFX supervisor Luke DiTomasso, the studio delivers over 200 shots for director Mike Cahill’s sci-fi thriller about two overlapping worlds, one real, one not, one ugly, one beautiful, and the conspiracy to keep people from finding out the truth.
Studio delivers 300 shots, including bullet hits, explosion enhancements, and driving comp interiors, on Warner Horizon’s episodic crime drama from the writers of ‘Gotham.’
The long-time Lucky Charms commercial production house magically transforms Lucky the Leprechaun into something much darker in cross-promotion campaign for the new Disney+ series.
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.
UK animation and VFX house provides previs, ‘scrying magic,’ a fire drake, and host of supernatural elements in Sky TV’s hit series.
Led by VFX supervisor Ralph Maiers, the studio helped ‘energize’ the magical battle between Agnes/Agatha and her coven of witches in the final episode of the hit Disney+ series.
Smoking wheels and burning rubber barely scratch the visual effects surface of DreamWorks Animation and Netflix’s high-horsepower street racing thriller, nominated for a Best FX for TV/Media Annie Award for the third season ‘Sirocco Fire Explosion’ finale.
The Sony Pictures Imageworks senior VFX supervisor discusses his studio’s integration of Epic’s game engine technology and real-time workflows into its animation production on a new episode of Netflix’s ‘Love, Death & Robots’ anthology series.
Haz Dulull and He Sun deliver an exciting game cinematic spot for Rebellion’s latest release, produced with a USD-based Houdini pipeline, Unreal Engine, and Redshift.
Axis Studios creates an entire historically accurate CG Elizabethan London, delivering 100 shots for 10 episodes over a span of 18 months.
VFX house One of Us worked through the COVID-19 pandemic to deliver 350 shots on Netflix’s wildly popular period romance drama set in an alternate Regency-era universe.
DoorDash’s first SuperBowl campaign featured rapper Daveed Diggs and the Sesame Street Muppets; creative studio incorporated elements including a CG train and added a bit of animation magic to make Grover fly.
Max Lang and Daniel Snaddon are back with an enchanting stop-motion / CG tale about a most unlikely pair taking a sea-going trip of a lifetime.
NXT automates programming tasks related to animation and VFX graphics and linear processing; the simplification of production workflows builds a bridge between artists and developers.
Cloud-based platform accelerates collaboration in real-time through connected virtual worlds that provide photorealistic rendering.
School gains SideFX’s official recognition for excellence in teaching; students now get exclusive access to webinars, presentations, and real-time feedback sessions for their portfolios.
Led by VFX supervisor Hamish Schumacher, the Vancouver studio designs and produces three digital monsters, known as Toadies, bringing frighteningly-good fun to Netflix’s new film, based on the Joe Ballarini’s book series.
Creative design company and the David Yurman Holiday Express train take viewers on a sparkling adventure through stars, a meteorite-like mountain, and a miniature city.
New production component tool allows teams to focus on creativity and storytelling by reducing the pain points in their pipeline.
VFX studio Nu Boyana FX’s first inhouse animated short, based on a spoken word poem, started as an R&D project before blossoming into a film asking fundamental questions about what makes a girl real; the fully keyframed film’s production toolkit included Zbrush, Mari, Maya, and Nuke.
Working with a team of six artists, director Steve Small employs a combination of 3D, rotoscope and hand-drawn artwork for the haunting, elegant main titles serving as the backstory for the HBO Max sci-fi series.
Romain Demongeot’s new CG animated film explores the role of religion in our world’s future, and whether people can exist without icons and gods.
