Chaos Group Announces V-Ray Days Lineup for SIGGRAPH 2018
A behind-the-scenes look at blockbuster films and hit TV shows with Digital Domain, Method Studios, ILM and Scanline VFX among featured presenters.
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.
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.
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.
Marvel Studios VFX supervisor Jake Morrison oversaw just under 2,700 shots contributed by Framestore, Digital Domain, Double Negative, Industrial Light & Magic, Rising Sun Pictures, Method Studios, Iloura and Luma Pictures for the third instalment of the God of Thunder franchise.
Industrial Light & Magic VFX supervisor Ben Snow details the range of destruction and fiery visual effects created for the Paramount feature starring Jennifer Lawrence and Javier Bardem.
The veteran VFX supervisor discusses digital doubles, animating believable performances and handling on-set technical challenges while shooting Marvel’s smash super hero hit, ‘Captain America: Civil War.’
The veteran visual effects supervisor and 2nd unit director details Industrial Light & Magic’s work with J.J. Abram’s on his epic sci-fi adventure hit.
The veteran CTO and VFX supervisor discusses ILM VR tools, technology and storytelling efforts on ‘Star Wars’ franchise films.
Special previews of live rendering and a CPU + GPU solution accompany the announcement of RenderMan 21.5.