Legendary artist shares concept design insights, George Lucas’ impact on his evolution as a designer, working through production design challenges and how he handles different opinions from strong creative voices on a film.
ILM’s SVP and Executive Director discusses studio production and management challenges as well as technology investment strategies and plans.
Chaos Group’s 2nd Annual event brings together 3D artists and developers in VFX, architecture and automotive design together for a series of masterclasses in Sofia.
Opening in U.S. theaters on December 20, ‘Star Wars: The Rise of Skywalker’ will include previously unused footage of Carrie Fisher as General Organa.
Studio launches division to provide visual effects and animation services for TV and streaming content producers.
Legendary ILM senior VFX supervisor and creative director will present this October at the Turin event.
A behind-the-scenes look at blockbuster films and hit TV shows with Digital Domain, Method Studios, ILM and Scanline VFX among featured presenters.
Industrial Light & Magic animation supervisor Jance Rubinchik describes the joys of playing with dinosaurs for ‘Jurassic World: Fallen Kingdom.’
Industrial Light & Magic employs its traditional hybrid approach to combining practical and CG effects for grounded performances.
SIGGRAPH 2018 runs August 12-16 in Vancouver.
From in-camera effects to the latest virtual production techniques, Industrial Light and Magic’s newly appointed head rounds up more than 1,800 VFX shots for the Star Wars stand-alone anthology space western.
TTF previs creative director Joshua Wassung, previs supervisor Todd Constantine, and storyboard head Doug Lefler collaborate with director Steven Spielberg on a host of visual gags for the sci-fi feature’s complex race scene.
Colorist Mitch Paulson creates custom looks for his second collaboration with director Ava DuVernay.
Industrial Light & Magic had a blast creating the virtual world of the OASIS and tripping down memory lane with spot-on recreations of the DeLorean from ‘Back to the Future’ or the T-Rex from ‘Jurassic Park,’ but the avatars were much more demanding.
Industrial Light & Magic Artists creates the virtual reality world the OASIS for director Steven Spielberg’s mind-bending joyride.
MPC CG supervisor Chris Downs details the production of 350 visual effects shots for director Ava DuVernay’s adaptation of ‘A Wrinkle in Time.’
Oscar-nominated VFX supervisor takes audiences on a quest through the universe for director Ava DuVernay’s adaptation of the sci-fi classic written by Madeleine L’Engle.
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.
One of five films to receive a nomination for best visual effects in this year’s race for Oscar gold, ‘Episode VIII’ mixes new characters with those from the 1977-1983 films in wholly new environments.
VFXWorld takes a closer look at the Oscar-nominated effects that brought the biggest version of King Kong ever to the big screen.
From preproduction through postproduction, design supervisor Kevin Jenkins helps safeguard the visual language of the Star Wars universe for the eighth episode in the iconic franchise.
Jonathan Erland to receive Gordon E. Sawyer Award Feb. 10 at annual awards ceremony.
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.’
Led by production VFX supervisor Ben Morris, visual effects powerhouse Industrial Light & Magic confidently seeks to honor the innovative spirit of the series without losing its heart.
