Los Angeles-based Natasha Gould will lead business development on the west coast; Martin Perkins has been named the studio’s new business and bidding manager for the London office.
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 delivers over 200 shots on the latest entry in the ‘Welcome to the Blumhouse’ psychological thriller film anthology; dark story centers on an amnesiac desperate to regain his memory.
The VFX powerhouse delivers a bustling Santa’s village, both North and South Poles, and cute and quirky digital characters including Belsnickel, his Jack-a-lotes, reindeer, a Yule Cat Jola, and 641 elves, in the Netflix holiday adventure.
Streamer announces production has begun on film based on two-time Newberry Award winner Kate DiCamillo’s novel of the same name.
Studio’s creative recreated the iconic street for David Fincher’s new Netflix biopic; archival footage, maps, and old photos, along with new imagery, were integrated to portray the famous boulevard as it was 80 years ago.
Check it out!; Kite and Lightening’s Cory Strassburger produces high-quality seven-minute CG short, ‘The Child Strikes Back,’ using an iPhone, free Unreal Engine, and off-the-shelf tools and assets.
Update includes new creative tools to for more convincing characters and real-time environments; users will also see usability and performance improvements in the Collaborative Viewer template enabling multi-user design reviews on VR/AR/Desktop enhancing the collaborative design review process.
Visualization services company brings innovative postvis and visual effects production pipeline support to Adam Mason’s new dystopian romance thriller, shot this past summer in Los Angeles during the COVID-19 lockdown.
Studio once again teams up with Anomaly and Pacific Rim Films’ Shawn Levy to bring back animated characters for a DICK’S Sporting Goods adventure.
Emmy Award-winning production designer James Pearse Connelly uses previs to design virtual sets, which are integrated with real-time rendering, Unreal Engine, and VFX to create the extended physical worlds of many new, safely produced TV shows.
With Disney+’s long-awaited October 30th Season 2 premiere of Lucasfilm’s Emmy Award-winning ‘Star Wars’ series, Lucasfilm and ILM again team with the leading visualization company to create cinematic quality visuals on a tight TV series schedule; watch the phenomenal previs showreel!
Completing their separation from Framestore, the leading visualization company launches a new facility in the heart of Fitzrovia; company’s Pinewood Studios-based virtual production space also has re-opened.
While sharing about ‘taking care of business,’ our NYC kitty gets a bit sentimental in a cat litter commercial that also tout’s the company’s mission to help animal shelters across the country.
Due to COVID-19, producers on the new weekly talk show turned to CBS VFX for a fast, innovative solution to seamlessly and safely integrate L.A. guests into the N.Y.-based production.
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.
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.
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.
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.
Company carbonizes and de-carbonizes Jeremy Iron’s character, turning the actor into a golden statue, in Damon Lindelof’s highly acclaimed series.
CG supervisor Han Yang has transitioned his game cinematic and trailer production efforts to a work from home studio, allowing him to continue delivering high-level content on a host of projects.
Oscar-winning creative studio builds full-throttle VFX for The LEGO Agency’s latest commercial, where a high-speed race brings imagination to life.
