From dragon flights to flying pyrotechnics, teams develop creative approaches to epic visuals using previs and technical planning.
From in-camera effects to the latest virtual production techniques, Industrial Light and Magic’s newly appointed head rounds up more than 1,800 VFX shots for the Star Wars stand-alone anthology space western.
From soaring Googie architecture to fabulous terrazzo flooring, production designer Ralph Eggleston, visual designer Philip Metschan, shading art director Bryn Imagire, and sets supervisor Nathan Fariss join forces to create the incredible world of director Brad Bird’s ‘Incredibles 2.’
Production VFX supervisor Dan Glass doubles down on the creation of a more unified Colossus with simultaneous facial capture and voice performance, and geometry-based character animation.
Senior previs/postvis supervisor Gerardo Ramirez discusses the highlights and challenges of the fourteenth collaboration between The Third Floor and Marvel Studios.
Montreal-based studio’s work on the hit HBO series earned a VES Award for the wall destruction sequence in the season finale.
TTF previs creative director Joshua Wassung, previs supervisor Todd Constantine, and storyboard head Doug Lefler collaborate with director Steven Spielberg on a host of visual gags for the sci-fi feature’s complex race scene.
Senior VFX supervisor Tim Ledbury details previs, production and post for Anderson’s second stop-motion animated feature.
Oscar-nominated VFX supervisor takes audiences on a quest through the universe for director Ava DuVernay’s adaptation of the sci-fi classic written by Madeleine L’Engle.
Overall VFX supervisor Peter Chiang talks previs, techvis, drones and Chinese sound stages on Steven DeKnight’s sequel to Guillermo del Toro’s 2013 sci-adventure romp.
L.A.-based visualization studio handles previs and postvis on Ava DuVernay and Disney’s new fantasy-adventure film.
VFXWorld takes a closer look at the Oscar-nominated effects that brought the biggest version of King Kong ever to the big screen.
Oscar-nominated VFX supervisor details the myriad challenges in bringing director James Gunn’s blockbuster sequel to the screen.
Animal Logic rolls with director Will Gluck’s live-action approach to create a convincing hybrid world for animal and human stars to share.
Weta artists apply their craft to move a static car, light a city at night, and create other effects for the final film in the Maze Runner franchise.
Does the Middle Kingdom’s growing use of quality previsualization efforts portend greater VFX-heavy film success to come?
Each year, the VES Awards recognizes and honors the most outstanding visual effects of the year as well as the creative professionals responsible for creating them.
FMX, running April 24-27, 2018, continues to bring together creative professionals at the forefront of digital entertainment. This year, it sharpens its focus on virtual and augmented realities as well as the best world-class animation, VFX, gaming and related education, entertainment and technology.
Award-winning VFX house delivers 1.5km-long International Space Station, a futuristic shuttle, spacesuits and digital doubles of Gerard Butler and Alexandra Maria Lara, and more for director Dean Devlin’s climate disaster spectacle.
Framestore reunites with Marvel Studios to deliver the climactic final act of ‘Thor: Ragnarok,’ producing 459 shots of heavy-duty VFX and a host of fully-CG characters.
The 18th VIEW Conference in Turin, Italy gets ready to present its biggest program ever of top animation, VFX, VR and game industry experts.
The veteran visual effects supervisor and 2nd unit director details Industrial Light & Magic’s work with J.J. Abram’s on his epic sci-fi adventure hit.
The previs supervisor discusses a wide-range of visualization work on HBO’s award-winning TV series, as well as her studio’s efforts on Disney’s live-action hit, ‘Beauty and the Beast.’
The veteran VFX supervisor and producer discusses the differences in visual effects he supervised on the new sequel compared to his Oscar-winning VFX work 20 years ago on the original Roland Emmerich hit film, Independence Day.
The GM and executive producer talks in detail about his studio’s previs work on Marvel’s ‘Doctor Strange,’ Disney’s ‘Beauty and the Beast’ and ‘Rogue One: A Star Wars Story.’
