Visualizing and Building the World of ‘Ralph Breaks the Internet’
Disney’s environments team had their hands full turning the net’s abstract vastness into a relatable and appealing digital world.
Disney’s environments team had their hands full turning the net’s abstract vastness into a relatable and appealing digital world.
VFX supervisor Karl Herbst shares his insights on how his team tackled lots of snow, and a bit of fur, on Warner Bros’ new animated musical comedy adventure.
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.
Production designer Cory Loftis and head of animation Renato dos Anjos discuss 60s-inspired character designs in the studio’s new ‘Wreck-it Ralph’ sequel.
New music video is a surreal jaunt through the electronic music master's mansion, complete with curious characters displaying even more curious dance moves.
Chad Hurd and Justin Wagner share artwork and creative insights from the Season 9 pre-WWII South Pacific island redesign.
Chad Hurd and Justin Wagner share artwork and creative insights from the Season 9 pre-WWII South Pacific island redesign.
Art department leads discuss the tools and techniques used to bring director Brad Bird’s sequel to the screen.
Center assisted painters by providing detailed reference, visual effects, compositing and editing for Oscars-nominated feature.
The supervising technical director discusses production on Disney and Pixar’s long-awaited hit animated sequel, Finding Dory, including the design and animation of the film’s eight-legged heroic cephalopod.
The veteran visual effects supervisor and 2nd unit director details Industrial Light & Magic’s work with J.J. Abram’s on his epic sci-fi adventure hit.
Framestore VFX supervisor Kyle McCulloch shares how Mrs. Potts, Lumiere, Cogsworth, Cadenza and Garderobe were brought to life in Disney’s hit live-action remake of the classic 1991 animated feature.
Industrial Light & Magic lead animator Alex Poei’s Vancouver-based team takes on key Princess Ahmanet regeneration and rat-infested alley sequences in Universal’s newest Dark Universe horror reboot.
Supervisor James Baker leads the studio’s previs, techvis and postvis efforts on their second ‘Guardians’ and 11th Marvel film collaboration.
Pixar’s animation team reflects on the challenges and triumphs of making their latest feature film offering, ‘Cars 3.’
Executive producer Matt Thompson and art director Chad Hurd share artwork and behind the scenes production insights into the highly-stylized Season 8 visual redesign.
Clarisse 3.5 to introduce improvements to set dressing, scene assembly, look development, lighting and rendering feature sets and workflows.
The director of photography goes in-depth about virtual cameras, layout, scene composition choices and workflow on Pixar’s Oscar-winning animated feature film.
The Third Floor’s previs supervisor Patrick Smith and postvis supervisor Heather Flynn discuss their work on director Zhang Yimou’s epic Chinese-U.S. action adventure co-production.
Latest version of HDR Light Studio provides adjustable light handles and full three-axis rotation, allowing 3D mapped lights to be oriented in any direction.
Animation supervisor Steve Rawlins discusses Spider-Man, Ant-Man, Black Panther and other CG super hero characters ILM produced for Marvel’s action-adventure hit.
Boutique VFX and animation studio taps Autodesk Maya and GPU-accelerated biased renderer Redshift to complete previs, design and animation for the new Volkswagen spot, ‘Graph.’