A library of more than 500 handkey motions, including unique, stylized interactions and movements such as walk, talk, and run, lets animators easily add zest to 3D cartoon productions.
The leading visual effects company, led by VFX Supervisor Chris White, revisits one of the Netflix series most compelling – and fully CG – characters in Season 3’s ‘Marigold’ episode, nominated for an Outstanding Special Visual Effects in a Single Episode Emmy.
Visual effects supervisor Chris Browne has big plans for his sci-fi project originally conceived as a feature film and TV series – he created 200 digitally augmented shots with photoreal robots, virtual environments, and swarming drone bots for the short film proof-of-concept.
Boston’s Museum of Fine Arts enlisted Cyprus-based Zedem Media to animate a day in the life of an ancient Greek potter whose famous, extremely rare 2500-year-old vase with red figures changed the course of history.
Chad Eikhoff, TRICK 3D’s founder and director of the Kidoodle TV and Discovery Kids animated series about Santa's North Pole reality talent show, discsses the challenges of producing episodic content – in a pandemic - with a real-time animation production pipeline using Unreal Engine and motion capture.
Sony Pictures Imageworks’ VFX Supervisor Chris Waegner and Animation Director Richard Smith talk about the challenges of working with three Spider-Men, updating a clutch of long-time villains, and ensuring realism in the midst of an action-filled fantasy.
VFX supervisor Scott Edelstein, nominated for an Oscar alongside Kelly Port, Chris Waegner, and Daniel Sudick, led his team in delivering more than 520 shots and 600 unique assets, including recreating 2.5 square miles of New York City for the dramatic Doc Ock – Spidey bridge fight, in Marvel’s smash action-adventure hit.
Philip Gelatt and Morgan Galen King resurrect an older, rotoscoped animation aesthetic, blending it with a blast of new creative storytelling and visual design energy in their epic, bloody, ‘swords and sorcerers’ tale about humanity’s battle between good and evil.
Leading visual effects and animation house delivers over 750 shots across 20 sequences, including digidoubles, Carnage transformations, and the wraith Venom, on Andy Serkis and Sony Pictures Entertainment's serial killer symbiont sequel to its 2018 box office hit, ‘Venom.’
Using frames hand-painted with Quill and VR headsets, Oscar-nominated director Erick Oh and his production team at Emmy Award-winning Baobab Studios expertly crafted a thought-provoking and emotional 3D animated short that follows the beautiful and heartbreaking moments of a man’s life.
Leading visual effects house delivers 770 shots, including extensive full CG characters and environments, on Andy Serkis’ ‘Venom: Let There be Carnage,’ Columbia Pictures’ crazed symbiont sequel to its 2018 box office hit, ‘Venom.’
Given only three months, the Oscar-winning animation director worked quickly to capture the Grammy-winning artist’s signature moves, weaving a hazy, noirish 80s journey through her hometown into ‘Happier Than Ever: A Love Letter to Los Angeles,’ her cinematic concert experience performed on stage at the Hollywood Bowl, now streaming on Disney+.
Directors Philip Gelatt and Morgan Galen King’s raucous new rotoscoped fantasy epic takes us back to the days when animated tales of swords and sorcerers didn’t always have fairy tale endings.
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.
The studio revisits and revamps Hulk, Marvel’s smash-‘em-up, fan-favorite digital character they first brought to the screen back in 2003.
With a 'snap,' Weta Digital helps brings closure to both Josh Brolin’s seemingly unstoppable villain and the foundational storyline from the MCU’s first 10 years.
Studio delivers 300 VFX shots, including never-before-seen Bruce Banner / Hulk hybrid, for Anthony and Joe Russo’s box office smash ‘Infinity War’ follow-up.
Artists at the former Atomic Fiction VFX house lend their talents to an epic crash landing and mid-air battle in Shane Black’s ‘Predator’ sci-fi adventure reboot.
We’ve been grooving all summer with the Pointer Sisters and Paley’s animated stone goddesses dancing to the infectious “You Gotta Believe” by Norman Whitfield -- now let’s see how they were made.
Vancouver and Los Angeles facilities deliver 550 VFX shots for the latest Marvel blockbuster, including key CG character sequences with Rocket and Baby Groot, large-scale destruction and spaceship crashes, environment design, and more.
