Production designers Szymon Biernacki and Marcin Jakubowski helped create an innovative, distinctive 2D aesthetic for Sergio Pablos’ delightful new Christmas film, now showing on Netflix.
Highly anticipated event for onsite attendees offered an exclusive look at the newest company research initiatives.
In support of the film’s home entertainment release, legendary VFX supervisor Rob Legato and cinematographer Caleb Deschanel talk about their groundbreaking work on ‘The Lion King.’
Directed by Jon Favreau, the global box office hit will also be available physically on 4K Ultra HD, Blu-ray and DVD October 22
A young city girl helps a mysterious Yeti elude his captors as they travel 2,000 miles to reach his Himalayan home in the new DreamWorks Animation and Pearl Studio co-produced animated feature film.
For first-time VFX supervisor Stirling Duguid, animating water, lava, pig snot and millions of feathers was only part of the fun producing the sequel to Rovio’s 2016 animated hit, ‘The Angry Birds.’
VFX producer Michael Perdew shares how Google Cloud was integral in the studio’s Air and Fire Elementals production work on the hit superhero action adventure.
High-end animation and visual effects studio used cineSync extensively to help define, refine and enhance their creative vision and stay in tune with directors Anna Boden and Ryan Fleck.
VFX powerhouse MPC's animation supervisor Stephen Enticott discusses how the studio balanced photorealism with emotion while crafting the engaging performances in ‘The Lion King,’ Disney’s latest hit animated classic remake.
VFX powerhouse DNEG has shared 106 images with AWN, showing in extensive detail some of the concept art and VFX imagery their team, led by VFX supervisor Alessandro Ongaro, produced for Sony Pictures Imageworks on the latest 'MiB' franchise hit, 'Men in Black: International.'
VFX supervisor Jerome Chen discusses staying true to the ‘MiB’ franchise look, and meeting audience expectations, while producing 2,000 visual effects shots in only six-months.
VFX supervisor Joern Grosshans and team tackle the Stark Jet, CG drones and satellites, tulip fields and a Spidey suit-building machine in Sony Pictures Entertainment’s action adventure hit.
Australian studio tackles 100 shots on Marvel’s hit superhero action-adventure sequel to ‘Spider-Man: Homecoming.’
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.
Using customized Nuke tools, Sony Pictures Imageworks created the film’s signature graphic look almost entirely in comp.
DreamWorks Animation’s director of research and development, Robert Knaack, head of lighting Pablo Valle, and visual effects supervisor Dave Walvoord detail how the studio’s proprietary rendering tool helped power the breathtaking visuals in the culmination of the ‘How To Train Your Dragon’ franchise.
‘How To Train Your Dragon’ series writer and director Dean DeBlois reflects on his ten years with the beloved franchise, detailing how new technologies helped bring ‘The Hidden World’ to the screen.
Creative studio’s advanced motion-capture technology and new pipeline for integrating live-action with CG dolls help director visualize true story of photographer Mark Hogancamp’s recovery from a vicious hate crime.
The first two projects to emerge from DWA’s shorts program, Oscar-shortlisted films showcase the breadth and depth of talent and technology the studio wields.
Directors Pierre Perifel, JP Sans and Liron Topaz delve into the making of their CG-animated short ‘Bilby’ -- including the use of the studio’s new Moonray light rendering engine -- in a new exclusive video and accompanying Q&A.
Latest version, now available, includes significant performance enhancements, 3Delight NSI integrated rendering and full VFXRP 2017 standard compliance.
Re-teaming as co-directors, Johnston and Moore push every boundary they can in ‘Ralph Breaks the Internet,’ the long-awaited sequel to Disney’s 2012 hit animated comedy adventure.
Without the studio’s creative review system, itView, plus a team of 400 artists and Warner Bros.’ decision-making trust, the animated musical comedy might “yeti” still be in production.
