VFX supervisor Richard Bluff describes Industrial Light & Magic’s dazzling New York and Hong Kong sequence work in Marvel’s supernatural adventure hit.
THE THIRD FLOOR founder talks about cutting edge production techniques and technology in a new global frontier.
ILM chief creative officer and senior visual effects supervisor John Knoll -- nominated for an Oscar alongside VFX supervisor Mohen Leo, animation supervisor Hal Hickel, and special effects supervisor Neil Corbould -- details the challenges of bringing the continuing saga of the Skywalker family to the big screen.
The Third Floor’s previs and postvis supervisor Faraz Hameed describes the challenges of more than two years of work on Marvel’s hit supernatural superhero adventure.
Lead Titmouse creatives explain the fast-paced production pipeline behind the scenes of FOX’s groundbreaking live-action/animation hybrid TV comedy from executive producers Phil Lord and Chris Miller.
VFX supervisor Russell Earl discusses the climactic airport battle complete with fully CG super heroes, environments and hundreds of digital assets on Marvel’s latest ‘Captain America’ franchise hit.
Animation supervisor Steve Rawlins discusses Spider-Man, Ant-Man, Black Panther and other CG super hero characters ILM produced for Marvel’s action-adventure hit.
Director Eric Appel discusses Phil Lord and Chris Miller’s raucous, biting and hilarious new hybrid live-action/animated series about an animated 80’s-style barbarian reconnecting with his disaffected live-action suburban family.
VFX supervisor Mark Breakspear discusses the studios’ 300 third act shots on Warner Bros’ DC Comics superhero hit, ‘Suicide Squad.’
Previs studio’s creative and technical visualization helps realize epic scenes for Emmy-winning episode, ‘The Battle of the Bastards.’
Animatirik’s performance capture system integrates CG assets from the film with live performances in real-time to help plan intricate fight scenes for the latest DC Universe installment.
Berlin-based filmmaker Jannis Funk relies on Shotgun to manage a team of 300 remote VFX artists, a library of 900 miniature models, and overall production tracking and review.
Boutique VFX and animation studio taps Autodesk Maya and GPU-accelerated biased renderer Redshift to complete previs, design and animation for the new Volkswagen spot, ‘Graph.’
Bicoastal integrated content studio its in-house sister shop for design and VFX bring a new multi-spot campaign for LensCrafters to life through intricate in-camera effects.
Groundbreaking real-time cinematography demonstration from Epic Games receives the SIGGRAPH award for Best Real-Time Graphics and Interactivity at Real Time Live!
Powerful, flexible new features to leading 3D application elevate motion graphics, VFX and visualization workflows.
Deal expands Animatrik’s industry-leading performance capture and virtual production from Vancouver and Toronto into the United States.
Dover Studios co-founder Andrew Hazelden releases renderer for Maya that creates hardware rendered panoramic images using OpenGL or DirectX, allowing users to create immersive previs renderings of Maya scenes in LatLong, angular fisheye, domemaster, cylindrical, and cubic panorama formats.
Fabric Engine user group meeting to be held July 26; joint presentation with Oculus Story Studio at DigiPro demonstrating how characters rigged with Fabric can add realism to VR experiences within Epic’s Unreal Engine takes place July 23.
Mill+ -- an integrated team of Mill directors and designers focused on concept-to-delivery creative partnerships -- helps deliver a cinematic new brand identity for Sky Cinema with a series of fully CG-animated IDs.
TTF previs and postvis supervisors Gerardo Ramirez and Austin Bonang discuss key fight sequence visualization efforts on Marvel’s hit superhero feature.
Director Duncan Jones’ adaptation of Blizzard Entertainment’s epic game universe lays down a solid foundation for the franchise’s cinematic future.
Director discusses bringing Blizzard Entertainment’s hit gaming franchise into the realm of feature films.
New version of markerless camera tracking and previs/animation solution for real-time visual effects & on-set visualization can now be used with game rendering engine Unity.
Oscar-winning VFX supervisor breaks down his work designing and filming Jon Favreau and Disney’s hit action-adventure feature.
