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.
Funky single from Beatles legend’s new album, ‘McCartney III Imagined,’ featuring 8X Grammy winner Beck, takes a psychedelic dance trip through the halls of a hotel, blurring space, time, and identity.
VFX supervisor Max Wood oversees 1,800 visual effects shots, filled with a CG gown of moths, three snarling Dalmatians, a wily Terrier, and a fearless, eye-patch-wearing Chihuahua named Wink, in the hit origin story for one of Disney’s most iconic villains.
Overall VFX supervisor Jake Braver, with the help of ILM VFX supervisor Laurent Hugueniot, delivers 2,800 VFX shots depicting a world decimated by plague and a city ruled by supernatural evil, in the 9-part series from CBS Television Studios now streaming on Paramount+.
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 acclaimed producer’s new music video, animated by FISE and GASOLINE, captures the experimental bass and exciting, Daft Punk-like melody from the track off his new ‘Parallel:S’ EP.
Dynamic animated film for Lux’s ‘Born This Way’ campaign supports banned South African athlete’s bid to compete at the world’s leading track events.
First announced this past January, deal brings new artists, technical experts, and strategic locations to the company’s expanding base of business units.
Agency that represents visual effects and post-production HoDs and crews welcomes six new professionals as demand for VFX and post work continues to increase.
Kevin Nolting and Lee Harting, respectively, win Eddies at 71st annual ceremony, held Saturday night, that recognizes outstanding editing in 14 categories of film, TV, and documentaries.
Available now, the new version streamlines color grading through FX and editorial with machine learning features, more tightly integrated toolset, and enhanced support for remote review sessions.
In the third and final discussion, VFX supervisors Steve Meyer and Brad Kalinoski share insights into their innovative visual effects work on shows like ‘Criminal Minds’ and ‘CSI: Crime Scene Investigation.’
VFX supervisors Brigitte Bourque and Marshall Krasser share insights into their innovative visual effects work on shows like ‘Upload’ and ‘9-1-1: Lone Star.’
Studio’s business growth enhanced by Australia’s strong COVID-19 response, generous government incentives, and Australia’s PDV offset; creative team to top 225 at Adelaide location.
VFX supervisors Ariel Altman and Josh Miyaji share insights into their innovative visual effects work on shows like ‘Mr. Robot,’ ‘Barry,’ and ‘I Know This Much is True.’
The Advanced Imaging Society’s 11th annual awards honored technical achievements currently accelerating the entertainment industry; 12 distinguished technical achievements were recognized for cutting-edge technology having ‘Impact through Innovation.’
Creative studio produces wall-to-wall bathroom aquarium complete with rocky seafloor, dense schools of tropical fish, and massive, unexpected and rather toothy great white shark.
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.
Cortney Haile named VP of business development, Albert Soto named chief engineer, and J.R. Benson senior colorist; new hires will support increased offerings including scripted VFX and on-set supervision.
Winners to be announced live at the American Cinema Editors virtual awards ceremony set for April 17.
