Smoking wheels and burning rubber barely scratch the visual effects surface of DreamWorks Animation and Netflix’s high-horsepower street racing thriller, nominated for a Best FX for TV/Media Annie Award for the third season ‘Sirocco Fire Explosion’ finale.
Tagged With: Maya
The Sony Pictures Imageworks senior VFX supervisor discusses his studio’s integration of Epic’s game engine technology and real-time workflows into its animation production on a new episode of Netflix’s ‘Love, Death & Robots’ anthology series.
Using Unreal Engine-based virtual production tools, VFX supervisor Kevin Baillie helps the Oscar-winning director pre-shoot every live-action scene needing digital characters, including mice, chickens, and a cat.
Haz Dulull and He Sun deliver an exciting game cinematic spot for Rebellion’s latest release, produced with a USD-based Houdini pipeline, Unreal Engine, and Redshift.
Axis Studios creates an entire historically accurate CG Elizabethan London, delivering 100 shots for 10 episodes over a span of 18 months.
Flagship product updates include powerful new functionality and tools like the much anticipated USD plugin for Maya.
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.
DoorDash’s first SuperBowl campaign featured rapper Daveed Diggs and the Sesame Street Muppets; creative studio incorporated elements including a CG train and added a bit of animation magic to make Grover fly.
Tangent Labs co-founder Jeff Bell shares how their platform integrates asset management, production and task management, review and collaboration, sketching, draw overs, and note taking to enable transparent, accessible, and innovative animation and VFX creativity.
NXT automates programming tasks related to animation and VFX graphics and linear processing; the simplification of production workflows builds a bridge between artists and developers.
The delightful 2D/3D animated musical short, about a curious bear cub’s attempt to resist hibernation, marks the start of the program’s ambitious plan to produce two new shorts each year.
Having already turned to Amazon Web Services, the studio easily moved to full remote production in the cloud this March; company quickly scaled artistic and computing capacity without disruption to delivery schedule.
Led by VFX supervisor Hamish Schumacher, the Vancouver studio designs and produces three digital monsters, known as Toadies, bringing frighteningly-good fun to Netflix’s new film, based on the Joe Ballarini’s book series.
VFX powerhouse has worked closely with Epic to fine-tune Unreal Engine’s strand-based Hair and Fur system; downloadable scene gives users a firsthand look at the production tool in action.
Cher, Jennifer Coolidge, and Luke Wilson star in animated film completed remotely, during the COVID-19 pandemic, with leading cloud-based technology including Chaos Group’s V-Ray renderer.
Update to Bifrost visual programming environment brings richer, procedural workflows to more areas of the pipeline and provides artists with powerful new scattering and instancing capabilities, along with volumetrics and FX tools.
Innovative features optimize productivity by empowering architects, engineers, 3D designers, and motion media professionals to create, render, and multitask faster than ever before.
VFX studio Nu Boyana FX’s first inhouse animated short, based on a spoken word poem, started as an R&D project before blossoming into a film asking fundamental questions about what makes a girl real; the fully keyframed film’s production toolkit included Zbrush, Mari, Maya, and Nuke.
Enhancements to the cross-platform virtual production software include camera tracking advancements, live motion-capture support, flexible licensing, and other features to help better meet the needs of independents and teams working in-studio or remotely.
Working with a team of six artists, director Steve Small employs a combination of 3D, rotoscope and hand-drawn artwork for the haunting, elegant main titles serving as the backstory for the HBO Max sci-fi series.
Chilean VFX artist Tomás Vergara’s new ‘WTF-X’ satirical short film series humorously portrays extraordinary CG beings sharing amazingly ordinary life lessons with a bemused young man that begs, the question, ‘What the f*ck?’
Visual effects supervisor James Hattin and producer Nate Smalley led company’s global remote team in creating photorealistic effects for HBO Max’s inner-city coming to age drama.
Studio’s new fully CG spot drops viewer into frantic video game race to find loved one after realizing unsecured gun is missing from a drawer.
Innovative mo-cap software streamlines live animation data to major animation packages, in under 60 seconds; virtual launch set for September 21.