Production VFX Supervisor Artemis Oikonomopoulou talks ghosts, cryptic water messages, and 1947 Venice, along with lots of invisible effects – and some CG bees – on the director’s third outing as famed Belgian detective Hercule Poirot in the latest cinematic adaptation of an Agatha Christie novel.
Tagged With: LiDAR
The studio delivers 235 shots for the fifth installment in the ‘Indiana Jones’ franchise, including a frantic tuk-tuk chase sequence through the streets of Tangiers, Morocco.
Release allows users with LiDAR equipped iOS devices to create rapid photoreal 3D models locally - in a matter of minutes; added functionality comes with no additional cost.
The leading visualization studio handled extensive previs and postvis, enlisting live Maya sessions with director Jonás Cuarón to develop a key chupacabra kidnap sequence that included the film’s most VFX intense scenes, on a mythological creature and teenage boy’s adventure of a lifetime, now streaming on Netflix.
Co-Visual Effects Supervisor Raymond Chen, working with DNEG, Pixomondo, Stereo D, and BOT VFX, delivers dragons and unicorns, as well as forcefields, capes – yes, capes – and various magical effects, on Warner Bros. and David Sandberg’s ‘Shazam!’ sequel.
Visual Effects Supervisor Bruce Jones, working with DNEG, Pixomondo, RISE, Scanline VFX, and Wētā FX, delivers a slew of mythical monsters, including dragons, cyclops, manticores, minotaurs, and harpies, on Warner Bros. and David Sandberg’s ‘Shazam!’ sequel.
For Matt Bishop and his artistic team, creating 39 different wildlife creatures, some highly endangered with little available reference, for Apple TV+’s live-action/CGI hybrid series inspired by the life and work of Dr. Jane Goodall, was a rewarding, collaborative effort that hopefully helps inspire people to better understand kids’ relationship with our planet; the show premieres on the streamer April 14.
Visual Effects Supervisor Marc Smith and Compositing Supervisor Tanner Bartlett talk burning coals and a chef so hot he’s actually on fire, in Mark Mylod’s dark comedy about a truly cutthroat kitchen, starring Ralph Fiennes and Anya Taylor-Joy, now streaming on HBO Max.
Visual effects supervisor Stephen James talks crashes, humor, LED walls, and layers of destruction as he takes us inside the studio’s wild and multi-faceted work on Sony Pictures’ comedy thriller, now playing in theaters.
VFX supervisor Brian Kubovcik discusses his team’s work creating the devastated urban landscape of various famed New York locations, such as Chinatown and The Manhattan Bridge, in the new HBO Max miniseries, based on Brian Wood’s Vertigo comic series.
The leading VFX studio delivers 552 visual effects shots on Oscar-winning director Chloé Zhao’s MCU Phase 4 adventure, including the 3rd act beach fight scenes and planet-sized Celestial Tiamut.
Leading VFX studio delivers almost 250 shots, including digital doubles, CG cars, and an unforgettable race to elude capture in Marvel Studios’ thrilling new MCU adventure.
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.
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.
UK visual effects studio tackles a choreographed radium dance, WWI battlefield, Hiroshima bombing, and Chernobyl disaster in Marjane Satrapi’s captivating biographical drama.
VFX supervisor Laurent Spillemaecker and his Montreal team turned Toronto into early 1960s Dealey Plaza and surroundings with an exacting, detailed set of CG environments, people and digital assets.
VFX supervisor Everett Burrell breaks down the Netflix series’ almost 2,000 VFX shots, a mix of nuclear holocausts, digital characters, time jumps, and a goldfish.
New version includes next-gen platform support, allowing developers to build PlayStation 5 and Xbox Series X games.
UK-based visual effects house tackles St. Peter’s Square, the Basilica and Michelangelo’s masterpiece, the Sistine Chapel ceiling.
Framestore’s Jonathan Fawkner and MPC’s Pete Dionne discuss the various ways visual effects were produced to help director Rob Letterman bring the smart-aleck yellow cartoon sleuth to the screen.
VFX supervisor Samir Hoon discusses the challenges of integrating the work of multiple facilities for the groundbreaking Chinese-U.S. big-budget co-production.
You can't always get what you want, but if you try sometimes, you just might find, you get what you need.