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.
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.
CEO Chris Ferriter, in an open letter, announces that for the past three weeks, the studio has been successfully operating with a 100% remote workforce
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.
Third-generation special effects supervisor Jeremy Hays talks about producing realistic snow, rivers and cracking ice on the new film adaptation of Jack London’s famous novel.
Nominated for a Best Visual Effects Oscar, Jon Favreau’s VES Award-winning hit was a masterpiece of photorealistic animation and state-of-the-art virtual production.
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.
