Studio names Jeff Hipolito head of IT, VFX, while Jimmy Smith joins as a VFX compositor.
Post houses Cadence Effects, Running Man, and Shishkin Productions sign on as members of the association of post-production facilities, labor unions, and individuals operating in New York; the organization develops and promotes public policy aimed at benefiting the overall film and TV industry.
Premium model kits help VFX studio quickly create new futuristic sci-fi environments for IPs such as ‘Star Trek: Discovery’ and ‘Halo;’ easily customizable assets work with Unreal, Maya, VRay, and Arnold.
Post-production studio bolsters team with former Droga 5 senior producer Josh Sanders, with Carla Thomas coming on board as producer.
Watch Mackinnon & Saunders’ new film, ‘The Coca-Cola Company and Bill Nye Demystify Recycling,’ which illustrates the circular journey of recycled plastic bottles; materials used in the film include trees made from Sprite labels, conveyor belts from recycled cardboard and Mr. Nye, personified by Coca-Cola bottles.
Visual effects studio designs and produces a series of increasingly numerous and whimsical emojis to show how NFL star Derrick Henry’s tweeted mistyped hashtag makes a small kitchenware store’s business explode, requiring immediate ecommerce help to handle the surge.
Visual effects supervisors Patrick Murphy and Glyn Tebbutt, and managing director Mark Tobin launch their new Santa Monica-based business with high-profile Expedia and Gatorade campaigns.
Most of the delays can be chalked up to scheduling challenges visual effects and post-production houses have faced while working on VFX-heavy projects.
Challenged with recreating authentic visuals depicting the 1952 Helsinki Olympic Games, the studio transformed sports stadiums, filling them with virtual crowds.
Company continues its push into virtual film production services with investment in new state-of-the-art Montreal facility.
Agency and animation production veteran joins post-production collective to support strategic and creative planning from conception through execution.
Supporting over 1,600 recipients so far, Epic Games continues its commitment to furthering the progress of creators, anywhere, doing outstanding work with Unreal Engine or contributing to open-source capabilities for the 3D graphics community; nearly 400 new recipients have been named in 2021 alone.
The new short, directed by and starring Vincent D’Onofrio, employs the studio’s unique hybrid live-action/animation process where the visuals immerse the viewer in what feels like a moving graphic novel.
Best known for its sound services, the post-production company adds VFX, animation, motion graphics, and deliverables.
Talent added across company’s design, post-production, and live-action teams, bolstering presence in Los Angeles, Singapore, Vancouver, and Toronto.
The long-time studio collaborator brings extensive experience in broadcast production and post-production advertising; will focus on strategic partnerships and expanding the company’s reach across local and new global territories.
Industry veteran in motion design, VFX supervision and direction shares advice for mid-level creatives; topics include running your own studio, international collaboration, compositing and VFX, learning 3D, working on title sequences, and reflection on the future.
Joce Capper will oversee London studio, working in tandem with her Montreal colleagues; Rebecca Manning joins visual effects team following tenure at FuseFX as digital effects supervisor & head of 2D.
Snarling dogs and moth-infested gowns highlight the film’s 1,850 visual effects shots, supervised by Max Wood, and produced with an eye towards speed and believability.
Visual effects and post-production veteran joins LA-based business development team, working with U.K.-based executive producer Stephanie Winslow to spearhead studio’s continuing global expansion.
The illustrious author reveals principal photography of Netflix’s new series is complete; he assures it ‘feels like’ the original comics.
Grant will be used by Montreal-based studio to further the company’s virtual production initiatives; their technology replaces greenscreens with a virtual set, offering producers creative flexibility and freedom.
For VFX supervisor Rob Delicata, a much darker new season narrative meant more dramatic visual effects were needed to drive Alfred Pennyworth’s ongoing story of an alternate 60’s London embroiled in a devastating civil war.
The Flame artist joins studio after a 10-year stint at The Mill; artist’s project work includes John Lewis’ ‘Man on The Moon’ and Nike’s ‘Winner Stay.’
For VFX supervisor Jamie Price, the ‘White Spikes’ predators eradicating humans in Chris McKay and Amazon Studios’ original sci-fi thriller had to be agile, scary, and above all, lethal.
