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.
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.
UK visual effects studio tackles a choreographed radium dance, WWI battlefield, Hiroshima bombing, and Chernobyl disaster in Marjane Satrapi’s captivating biographical drama.
Produced during the COVID-19 pandemic, creative studio The-Artery uses remotely produced motion capture to show the anonymous band emerge from stasis and blast onstage for an all CG neon-flooded performance.
Artists can now freely access 15 different 3D products and services for real-time scene exploration and photorealistic rendering.
Highlights include sequences from ‘The Witcher,’ ‘Rocketman,’ ‘Lost in Space’ S2, ‘Avengers Infinity War’ and Avengers Endgame.’
Led by VFX supervisor Aleksadar Pejic, the studio’s London team delivered digital demons and more in more than 250 shots across all eight first season episodes.
Led by VFX supervisor Derek Spears, the studio filled the sea and sky around Midway Atoll with the devastating tools and action of war in Roland Emmerich’s harrowing tale of the decisive 1942 battle between the U.S. and Japan in the Pacific Theatre of WWII.
Filmakademie Baden-Weurttemburg team honored as top up-and-coming filmmakers with annual award sponsored and presented by Autodesk at 18th Annual Visual Effects Society gala.
