Tapping NantStudio’s advanced LED stage powered by Unreal Engine for its ‘auto demo’ project, the studio demonstrates the sustainability impact of harnessing the cutting-edge technology, both in financial and environmental costs.
The studio transforms London into a dilapidated landscape dwarfed by towering statues of Greek Gods, creating the backdrop for the sci-fi series starring Jack Reynor and Chloë Grace Moretz, now streaming on Prime Video.
Featuring 6 hours of curated training material covering VFX filmmaking, Compositing, Modeling, and After Effects Animation, the VFX Sampler is a superb introduction to the global education program’s comprehensive, degreed, and accredited visual effects instruction.
More intuitive interface, extensive 3D template library, and collaboration tools make content creation faster and easier for use across social media, games, graphic design, and the metaverse.
VFX Supervisor Dennis Berardi dishes on the show’s signature production of ghouls, critters, an octopus, a blob monster, a six-foot long queen rat, and a lady made out of beauty lotion – 2,000 visual effects shots all totaled - in the horror anthology series now streaming on Netflix.
Studio serves as lead VFX vendor on Eric Garcia’s new nonlinear, eight-part Netflix crime series inspired by the true story of a $70 billion Manhattan bank heist during Hurricane Sandy; challenging effects-heavy shots included creating a swarm of digital bees to camouflage a character’s movements through a super-secure bank vault.
The award-winning studio delivers 271 shots for the Disney+ special, including a newly built and decorated Knowhere, Cosmo the (digital) dog, and a dancing adolescent Groot.
Wētā FX’s 4-time Oscar-winning Senior Visual Effects Supervisor discusses his collaboration with director James Cameron on the highly anticipated ‘Avatar’ sequel, now in theaters.
It took P-H Dallaire and Benoit Therriault a decade to find the right partner – Rodeo FX – to produce their 3DCG animated short about a young boy and a chipper little bird who work in a dank, dark coal mine.
The submission deadline is November 30; you have less than one month left to submit work for consideration.
Watch it here - launching live today as part of Epic Games’ ‘Future of Animated Storytelling’ presentation, the animated short is one of the first crafted entirely in the cloud using Unreal Engine – without compositing - by a team of artists collaborating virtually from around the world.
Upgrade to the all-in-one, real-time change management solution for Unreal Engine and Maya provides improved remote visualization and collaboration without interruption, resulting in faster iterations and cost efficiencies; 30-day free trial now available.
The award-winning renderer adds new systems and updates, including geometric tiling, procedural clouds, a new shader profiler, and USD support; numerous enhancements create a more complete toolset for monitoring and optimizing projects.
For the Netflix series’ third and final season, the studio produced visual effects on 65 shots across 3 episodes, using Maya, Houdini, Nuke and 3DEqualiser to design and create new threats and looming dangers, including a battle with a mechanical claw-tipped arm.
In response to a changing industry, the committee has revised R&Ps, updating category definitions; important date announcements include the November 30 closing of entries and February 15, 2023, 21st Annual VES Awards Presentation.
VFX supervisor Pete Dionne and his team create the innovative black and white Moon of Shame sequence on Taika Waititi and Marvel Studios’ fourth entry in the hammer-wielding god’s film franchise.
Tim Miller’s animation and VFX studio bridged the gap between live-action and CG using V-Ray's Light Selects and Physical Camera Exposure controls to realize the famed director's aesthetic on his first computer-animated film, part of 'Love, Death + Robots' Volume 3 now streaming on Netflix.
The studio produced over 300 VFX for Taika Waititi and Marvel Studio’s latest MCU action-adventure, including the film’s impressive opening and closing sequences.
Director Mark Andrews and producers Paul Fleschner and Adam Maier chronicle their trailblazing journey to create - entirely in Unreal Engine - the 3DCG animated comedy series premiering today on Netflix.
Production VFX supervisor and cat enthusiast Jake Morrison talks lighting breakthroughs, VR magic, how to differentiate your shadow creatures, and how to make a dumpling god – all in a day’s work on Marvel Studios’ fourth outing in the Norse god franchise, now playing in theaters.
The London-based studio shares its VFX breakdown reel showcasing how they created a high-octane cupcake delivery truck pursuit through the Alps for Marvel and Disney+’s latest MCU series.
Cinema 4D updates, in tandem with Redshift development, offer users greater platform stability, workflow enhancements, bug fixes, and added value offerings to Maxon One subscriptions.
Recent graduates Jacey Robinson, John da Fonte, and Julianna Mercado discuss their efforts to secure challenging and enjoyable industry work, how they keep up on new tools and technology, and how their college prepared them for the rigors of professional production.
Company shares the first formal look at one of the first shorts rendered entirely in Unreal Engine – without compositing - by a global team of artists all working virtually in the cloud; Epic’s five-day virtual event, running through July 1, features free online presentations and panels showcasing the adoption of Unreal technology by film and television studios of all sizes.
The company’ 3D MoMa inverse rendering pipeline will be presented tomorrow during the Conference on Computer Vision and Pattern Recognition in New Orleans.
