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.
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.
For VFX supervisor Louis Morin, Tom Harper’s wild ride through the skies of 1862 London was a journey filled with live-action shoots, stunts, digital doubles and one super-cold sound stage.
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.
Creative studio collaborates with 215 McCann, XBOX and The Coalition to produce, design and animate three key pieces of game launch content.
In support of the film’s home entertainment release, legendary VFX supervisor Rob Legato and cinematographer Caleb Deschanel talk about their groundbreaking work on ‘The Lion King.’
Directed by Jon Favreau, the global box office hit will also be available physically on 4K Ultra HD, Blu-ray and DVD October 22
Leading visualization company shares a set of 29 revealing images showcasing their extensive work on James Gray’s outer space thriller, which stars Brad Pitt and Tommy Lee Jones.
Casey Pyke discusses his company’s previs and postvis work on Plan B Entertainment’s thrilling space adventure, which stars Brad Pitt and Tommy Lee Jones.
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.
