Studio delivers 300 shots, including bullet hits, explosion enhancements, and driving comp interiors, on Warner Horizon’s episodic crime drama from the writers of ‘Gotham.’
New subscription service productizes Weta’s Oscar-winning Maya-based proprietary VFX tools, providing artists access to one complete stage to screen Maya-based pipeline.
The long-time Lucky Charms commercial production house magically transforms Lucky the Leprechaun into something much darker in cross-promotion campaign for the new Disney+ series.
CLU’s new full-service studio to provide paid job opportunities to alumni of the career animation training program; the 3-year curriculum provides young adults on the autism spectrum an intensive 2D-3D hands on learning experience.
Oscar-winning ‘Hair Love’ production house Lion Forge Animation teams with Everytown for Gun Safety Support Fund on poignant animated short in support of the 7th annual Wear Orange campaign and National Gun Violence Awareness Day.
The renowned digital artist, aka Bradley Munkowitz, uses a water and smoke system to simulate a swell of energy for the collaborative Z by HP project.
For supervising director T.J. Sullivan, building on the success of DreamWorks Animation’s hit franchise meant ensuring that as kids, the fab four – Alex, Marty, Gloria, and Melman – get the right chance to form bonds that last a lifetime.
DreamWorks Animation’s musical kids’ series, created for Apple TV+, follows the adventures of a young robot who ‘unplugs’ from his fact-based world to experience the wonders of the human world with his best friend Emma.
Tech giant’s conference program will examine the future and boundaries of animation and VFX: the latest developments in USD; retopology tools for 3ds Max; Bifrost for Maya for visual programming; and remote studio collaboration with Shotgun.
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.
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.
