The Disney+ and History series took home the awards for Outstanding Special Visual Effects and Outstanding Special Visual Effects in a Supporting Role on the third night of the 2020 Creative Arts Emmy Awards.
Tagged With: Pre-Visualization
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.
StageCraft expansion plans include additional LED volume installations in LA, London and Australia, along with new Jedi Academy program aimed at underrepresented VFX talent.
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.
One of the editors on FOX’s hit animated comedy discusses her unlikely landing of the coveted job, and how as a wife and working mom she relates to the show’s family-centered humor.
During Comic-Con panel, showrunner explains decision on integrating live-action with comic-style toon-shaded animation to finish episode halted due to the novel coronavirus.
Oscar-winning creative studio builds full-throttle VFX for The LEGO Agency’s latest commercial, where a high-speed race brings imagination to life.
VFX studio handles previs, visual effects, postvis, and graphics production for the inaugural season of Armando Iannucci’s space tourism comedy
With production shutdown due to COVID-19, the hit NBC series finished its final Season 7 episode by integrating 20+ minutes of toon-shaded animation with live-action.
New version includes next-gen platform support, allowing developers to build PlayStation 5 and Xbox Series X games.
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.
VFX supervisor Pablo Helman discusses the sophisticated digital de-aging process, sans markers, used to depict Robert De Niro, Joe Pesci and Al Pacino over a four-decade span.
Led by overall VFX supervisor Michael Shelton, teams at the studio’s Los Angeles and Toronto facilities handled 546 shots over a 4-month period.
VES Award nominee Matt Welford describes ‘supporting visual effects,’ including previs and techvis, on the inaugural episode of the ‘Aquaman’ star’s hit post-apocalyptic action-adventure series.
Latest release includes new features to empower visualization professionals across multiple industries.
Veteran visual effects and CG supervisor with 25+ years’ experience joins studio’s senior creative team.
Led by Emmy-nominated VFX supervisor Mahmoud Rahnama, the studio’s visual effects work spanned 1,100 shots done in just 11 months across four different facilities.
Three reels, including an interview with Emmy nominee, VFX supervisor Nhat Phong Tran, showcase the studio’s superb previsualization and visual effects work on Seth McFarlane’s hit sci-fi action-comedy series.
VFX powerhouse DNEG has shared 106 images with AWN, showing in extensive detail some of the concept art and VFX imagery their team, led by VFX supervisor Alessandro Ongaro, produced for Sony Pictures Imageworks on the latest 'MiB' franchise hit, 'Men in Black: International.'
VFX supervisor Jerome Chen discusses staying true to the ‘MiB’ franchise look, and meeting audience expectations, while producing 2,000 visual effects shots in only six-months.
VFX supervisor Phil Brennan describes the making of Jean Grey’s cosmically altered telekinesis, her childhood car crash, an enhanced Cerebro and the 3rd act prison train.
With the MCU ‘Infinity Saga' now complete, the studio shares a 10-year visual history of their extensive previs, postvis and techvis work on the famed franchise.
Animation supervisor David Clayton shares how his team brought down the fire-breathing Rhaegal with a giant bolt, and Crum the giant wight with a small knife, in HBO’s hit action-adventure series.
Studio provides elaborate VFX, including full CG derailment, previs, matte paintings and digital background replacements, for 90-second Western-themed “Train” commercial.