VFX house and Canadian TV/Film equipment company have already begun building new virtual production stages in Vancouver and Toronto, with more set for 2022; combined capital commitment exceeds $30 million.
Led by VFX supervisor Phil Jones and VFX producer Matthew Pellar from their Toronto facility, the studio shifted into warp speed during the pandemic to deliver 570 shots for the hit Paramount+ sci-fi drama.
The free virtual event, running April 26-28, brings together over 150 speakers from a diverse set of industries; featured topics include Cloud/Pixel streaming in Real-Time; digital humans/virtual agents; virtual production; and how real-time is transforming animation.
The VFX house welcomes Craig Wentworth as VFX supervisor, Patricia Binga as animation supervisor, and Adam Harrison as VFX producer; recent Epic MegaGrant helps continued development of innovations in LED technology for virtual production and filmmaking.
With their new Toronto virtual production stage up and running, the studio has released a quick and entertaining guide to illustrate some virtual production basics.
Studio’s VFX supervisors Ed Hawkins, Max Riess, and Mark Spindler highlight their teams’ work delivering around 520 shots on HBO Max and Ridley Scott’s hit sci-fi thriller, which has been renewed for Season 2.
Studio’s Toronto branch head of 2D Eric Covello details their visual effects work on Netflix’s hit dysfunctional superhero family adventure series, which last week was renewed for Season 3.
Long-time VFX supervisors join studio’s Los Angeles and Vancouver offices, respectively; company bolsters team to deliver upcoming projects including ‘Eternals;’ ‘The Suicide Squad;’ ‘The Batman;’ ‘Lisey’s Story;’ ‘Fengshen Trilogy;’ ‘The Jade Earring;’ and ‘The Nevers.’
The award-winning VFX company has teamed with tech partners Unreal Engine, LED manufacturer ROE Visual, and Nvidia on new facility, scheduled to be completed late 2020.
VFX supervisor Goran Backman details the studio’s creature and environment work on Jon Favreau, Lucasfilm and Disney+’s VES and Emmy Award-winning hit space-adventure series.
Sci-fi thriller, centered on two androids raising human children as atheists on mysterious planet, ranks as the streamer’s highest performing Max original since the platform’s debut.
VFXWorld and AWN break down the 10 shows nominated for Outstanding Special Visual Effects and Outstanding Special Visual Effects in a Supporting Role, and the studios behind their spectacular visuals.
Overall VFX supervisor David Van Dyke and PXO VFX supervisor Nhat Phong Tran detail the production of the HBO series’ drug-induced gravity-defying spinning hall sequence from Episode 1.
Sci-fi thriller about two androids raising human children on a mysterious planet launches September 3.
The studio, led by VFX supervisor Bojan Zoric, delivered 170 shots as the sole visual effects house on the Judd Apatow comedy starring Pete Davidson as a wannabe tattoo artist drifting through a life of little achievement.
Highly anticipated new show about two androids raising human children on a mysterious planet launches September 3.
The studio, and VFX supervisor Nhat Phong Tran, garner an Emmy nomination for their VFX work, delivering over 400 shots on Season 3 of HBO’s futuristic sci-fi thriller.
VFX supervisor Everett Burrell breaks down the Netflix series’ almost 2,000 VFX shots, a mix of nuclear holocausts, digital characters, time jumps, and a goldfish.
CG supervisor Dan Smiczek discusses the studio’s work creating the iconic ship of ‘assimilation’ for the CBS All Access hit sci-fi series starring Sir Patrick Stewart.
Company carbonizes and de-carbonizes Jeremy Iron’s character, turning the actor into a golden statue, in Damon Lindelof’s highly acclaimed series.
Led by VFX supervisors Johnny Gibson and Edward Hawkins, the studio provided a bucket-full of digital blood and gore, wounds, muzzle flashes, deadly arrows and a digital jet on the Jason Blum and Damon Lindelof produced action-thriller.
Physics-based character creation platform now available free of charge for non-commercial projects.
Led by VFX supervisor Sven Martin, the studio handled all visual effects production on Philipp Stölzl’s colorful feature film adaptation of the stage musical of the same name.
Led by VFX supervisor Derek Spears, the studio filled the sea and sky around Midway Atoll with the devastating tools and action of war in Roland Emmerich’s harrowing tale of the decisive 1942 battle between the U.S. and Japan in the Pacific Theatre of WWII.
Led by VFX supervisor Max Riess, teams from Frankfurt, Stuttgart, Toronto and Los Angeles delivered more than 268 final shots over a 22-month period.
