The summer heats up with enhanced Maxon One subscription offerings, including Jitter added to Redshift, MatCap Shader Node and Support for Maya on Mac, and Improved Trapcode Workflows.
Dive into the world of VFX with this creative contest using After Effects, Maya, and Nuke to incorporate CG creatures into live-action footage; 1st prize is an Insta360 X3 Camera; free to enter, the submission deadline is August 31, 2023.
Innovative tool allows creators to easily search the company’s extensive model and materials library and seamlessly import assets into 3D content creation tools like Unreal Engine 5, Blender, and Autodesk Maya and 3ds Max.
Jay Walker directs the 30-second piece showcasing the gear’s undeniably strong ‘pull’ on gamers, utilizing a blend of traditional VFX work in After Effects, Maya, and Redshift.
The studio wrangles facial mocap performances into its proprietary suite of AI tools to tackle one of Marvel Studios’ most unique villains, a 5-foot-tall flying face, in ‘Ant-Man and The Wasp: Quantumania.’
Teams led by Casey Pyke and Ryan McCoy produced previs – and some postvis – on key scenes involving the Ballroom Dance, an Octopus chase, a Garbage Truck chase, and the big third act dreams chase, on Francis Lawrence’s adaptation of Winsor McCay’s famous comic strip, now streaming on Netflix.
California-based Elara Systems harnesses Adobe Substance 3D Painter, Maya, Unreal Engine and NVIDIA Omniverse, connecting 3D pipelines to create AI character-driven 3D medical animations that help raise public awareness through relatable storytelling.
The tech giant will present 20 research papers advancing generative AI and neural graphics — including collaborations with over a dozen universities in the U.S., Europe and Israel – at the computer graphics conference coming to LA this August.
The technology company shares its latest media and entertainment computer hardware designed for accelerating workflows; also on display the award-winning immersive VR experience, ‘Stay Alive, My Son,’ powered by a BOXX APEXX S3 workstation
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 visual effects studio creates 334 shots for Season 2 of Brian Young and Netflix’s coming-of-age fantasy adventure about teenage fairies learning to master their powers while navigating love, rivalries, and a flock of bug-like Scrapers at their magical boarding school.
Visual effects supervisor Chris Browne has big plans for his sci-fi project originally conceived as a feature film and TV series – he created 200 digitally augmented shots with photoreal robots, virtual environments, and swarming drone bots for the short film proof-of-concept.
Leading visual effects studio delivers 420 shots, including a massive, sinister 3D snake, on Florian Sigl’s feature film adaptation of Wolfgang Mozart’s 232-year-old opera, which hits U.S. theaters today, March 10, courtesy of Shout! Factory.
Filmmaker Lachlan Pendragon talks about his extremely meta Oscar-nominated short film, ‘An Ostrich Told Me the World Is Fake and I Think I Believe It.’
First-to-Market workstation is purpose-built to optimize GPU-centric workflows for creative professionals across the M&E space; platform is available with up to 4TB of memory and can run up to 4 NVIDIA® RTX™ 6000 Ada Generation GPUs.
The funding round, led by Sequoia Capital’s Surge, will support the company’s global expansion while furthering its product development; the web-based tool, equipped with numerous 3D assets and templates, brings the power of 3D design to everyone.
Economical, entry level system now features new CPUs that offer top performance to optimize creative and accelerated 3D workflows for CAD, 3D design, motion media, and other professional software applications.
The Oscar-winning VFX studio, using Maya and Houdini, delivered 500 VFX shots, including the film’s finale filled with crowds of digi-doubles on the deck, the hull, and in the water around the futuristic Wakandan stealth ship.
The 10-minute animated African horror fable by instructors Miguel Ortega and Tran Ma - known as Half M.T. Studios - employed hand-drawn and cutting-edge 3D techniques, with tools like ZBrush and Maya for characters and Substance Painter for texturing, and was rendered exclusively in the game engine.
Created for TotallyMoney, the advert melds 2D, and 3D animation, capturing a hand-painted feel, making every frame look like an individual painting; the short conveys the client’s customers’ determination to climb towards their goals.
Inspired by a ‘Frozen’ documentary, director Daniel Gies digitally created the film’s folded paper styled stop-motion-like animation with tools such as Maya, Houdini, and Unreal Engine; his animated short debuts later this year.
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 visual effects studio delivered 1,522 shots on the Showtime vampire/horror series, including fully CG chimps that morphed into vicious vampire chimps.
Marvel Studios’ 5-episode collection of ‘I Am Groot’ animated shorts finds the mischievous toddler sprouting his childhood wings, produced through a close collaboration between director Kirsten Lepore and the VFX studio’s animation director, Raphael Pimentel; the series is now streaming on Disney+.
