Noah Catan and the team at Bent Image Labs used his Pantheon software tool to add critical volumetric shading to the key opening scenes of the film, set in Harold’s illustrated book world, without making the characters and their simple lines look like the came from a completely different world.
Visual Effects Supervisor Matt Sloan, handling as much in-camera as possible so digital effects didn’t overshadow the tremendous stunt work, helped deliver 1,400 VFX shots working with Framestore, Cinesite, Rising Sun Pictures and Crafty Apes, as well as extensive postvis by OPSIS, on David Leitch’s behind-the-scenes ode to stuntmen, starring Ryan Gosling and Emily Blunt.
Visual Effects Supervisor Jennifer Giovanna Meire and her team oversaw 359 shots on David Leitch’s behind-the-scenes stunt-filled extravaganza, becoming combustion physics experts and digital pyromaniacs as they repeatedly set star Ryan Gosling on fire.
Newest version includes enhanced technology features such as XPU Advancements and Interactive Denoising; core improvements include faster instancing and texture read parallelism and improvements in RenderMan's Stylized Looks toolset for enhanced creative control.
Attendees can explore the stylistic design choices behind ‘Kung Fu Panda 4’ and gain insight into artistic and technological innovations developed for ‘Ghostbusters: Frozen Empire;’ 4-day event kicks off in Stuttgart on April 23, 2024.
The global visual effects studio partnered with Dharma Productions and DOP Manush Nandan to deliver over 1,300 shots, including set extensions, composites and motion graphics on numerous shots of phones, TVs, and iPad screens, and a CG car in a frantic chase sequence, on Director Karan Johar’s dramatic love story.
Directed by Jay Walker, the spot tapped studios’ technical expertise using CG, LED volume shoot and traditional VFX to visually realize a young girl’s dream.
Revealed at Autodesk University 2023: The Design and Make Conference, the new platform connects entire production pipelines with Maya and 3rd party artist tools from SideFX, Avid, and Foundry. plugging directly into the open ecosystem.
Studio oversees conceptualization, asset creation, technical animation, and FX in collaboration with Psyop, Respawn Entertainment and Electronic Arts; the 4+ minute short scores 5M+ views since its release.
For Production VFX Supervisor David Van Dyke, Season 2 of Taika Waititi’s hit Max series saw fewer visual effects shots but more efficient virtual production that included use of a library of panoramic background location and sky shots as well as a re-configured LED Volume, known as the ‘J.’
VFX team seamlessly integrated 99 individual shots into a 22-minute oner spanning a prison escape, car chase and train crash; directed by Sam Hargrave and written by Joe Russo, the action-adventure is now streaming on Netflix.
‘League of Legends: A Triumphant Fusion of the Automotive, Esports, and Cinematic Spheres’ ground-breaking cinematic design features a futuristic Seoul built in CG, with Riot Games’ fantastical world and characters introducing Mercedes-Benz EQS SUV to e-sport and game enthusiast audiences.
The comprehensive guide to techniques and best practices, gleaned from 82 experts in VR, AR, MR, and XR technology and edited by VFX professionals Susan Zwerman VES and Jeffrey A. Okun VES, is now available for pre-order.
Leading creative studio delivers 720 shots for Universal’s comedy adventure, starring Jamie Foxx and Will Ferrel, about an abandoned dog who forms a gang of misfit ‘strays’ dogs; CG magic used to create a fully digital eagle and replace dogs’ muzzles and heads.
The committee has revised Rules and Procedures in some categories and announced name changes in others; submissions close on November 30; timing of the 22nd Annual VES Awards Presentation is TBD.
The VFX studio contributed 1,800 shots for Netflix India’s ‘Rana Naidu’ series, based on the popular American Showtime drama series; work included action clean-ups, greenscreen sequences, and CG elements such as the creation of a realistic snake that appears during a drug-induced hallucination.
For Junior animation student Alexandra Young, jumping into Unreal Engine to direct the school’s latest animated film, having never worked in 3D, was at first like drinking water from a firehose; however, she and her team quickly and effectively embraced the powerful real-time animation platform to tell an epic fantasy story in ways they couldn’t have done otherwise.
A Stark Production, WildBrain, and Infinite Studios’ popular 3DCG animated series scores new international distribution in the U.S., Canada, Ireland, Norway and France.
Kay John Yim takes a deep, technical dive into his new short, ‘Masquerade,’ a character animation project that helped him further develop skills in storyboarding, character design, character animation, and rendering.
Along with program partners 4Wall and ZeroSpace, the company aims to provide trainees with the tools and knowledge to create cinematic content on a large scale; the immersive learning experience is open to all skill levels.
From giant red spaceships to tentacled, toothy Abilisks, the studio’s VFX and animation teams, led by VFX supervisor Guy Williams and animation supervisor Michael Cozens, pull out all the stops for the final chapter of James Gunn’s MCU trilogy.
Newest version includes enhanced technology features such as advanced denoising powered by machine learning, reaching new milestones in support for volumes, secondary passes, and performance for feature film animation and VFX.
The leading visual effects and animation company delivered 510 shots on 15 sequences for Rian Johnson and Netflix’s ‘Knives Out’ sequel, including the sprawling Greek island villa and titular signature glass monolith.
Using the title track of the singer’s latest album ‘Fossora,’ the experimental design studio depicted her performance within a dynamic, rotting, earthy mushroom world, bringing two parallel universes together in sync with the music.
Former visual effects student Noah Catan spent over a year working to improve upon the 2D ‘Klaus’ innovative 3D-styled lighting and shading in his development of Pantheon: Volumetric Lighting for 2D Animation software, created specifically for the production of SCAD Animation Studios’ CTA Emmy nominated animated short.
