The art and design platform will no provide users an outlet to share work and connect with Maxon’s Cinema 4D, Redshift, and ZBrush artist communities.
The motion graphics studio used Cinema 4D, Redshift, and Red Giant to create a host of screen graphics including medical scans, 3D maps, and other futuristic visual elements in the iconic film franchise’s latest outing.
TTF Anim, the company’s new game engine-based final animation toolset and in-house animation group, is fueling its goal to move from visualization to screen-ready animated content creation; new short, ‘Skytribe,’ demonstrates the range of styles and realism possible through new means of camera movement, facial modeling, and face/body animation.
The new browser add-on optimizes color calibration for consistency across monitors, improving remote collaboration among creatives.
Updates to Maya, 3ds Max, Bifrost, and Arnold enhance the user experience, optimizing collaboration and data sharing within VFX and animation creative teams.
New toolset brings real-time capabilities to creators of cinema-quality, stylized animated content; developed on top of Unreal Engine, pipeline features custom-developed visualization tools that introduce game engine rendering to features of traditional animation.
Animators in the $32B 3D & VFX industry are always working; with over 62,000 animation jobs in the US alone and continued growth expected for the foreseeable future, there’s never been a better time to start a career.
Next gen technology accelerates GoBOXX SLM Laptop and APEXX Workstation performance; AI and ray-tracing enhancements optimize GPUs for media and entertainment as well as manufacturing and product design, architecture, engineering, and construction workflows.
Annual computer graphics conference and exhibition comes to Daegu, South Korea, where it had been scheduled to run in 2020 before going virtual during the pandemic.
VFX supervisor Scott Edelstein, nominated for an Oscar alongside Kelly Port, Chris Waegner, and Daniel Sudick, led his team in delivering more than 520 shots and 600 unique assets, including recreating 2.5 square miles of New York City for the dramatic Doc Ock – Spidey bridge fight, in Marvel’s smash action-adventure hit.
The creative studio delivers ‘Crashtag,’ the world's first robot influencer, using a variety of 3D tools to design and build the futuristic sci-fi world of director Kim Chapiron’s new short film.
VFX studio Goodbye Kansas’ Jonas Skoog and Goran Milic share their insights on the pipeline, tools, and ongoing development needed to create CG humans that look real and emote believably.
VFX and animation industry veteran brings vast experience from biz dev at cloud-based animation platform Nimble Collective to editorial and post-supervision at Pixar Animation; in her new role she will assist studios and artists in quick and easy transitions to pop-up render capacity.
Featuring action-packed assets produced by company’s VFX studio, the cinematic hints at new ‘Invasion Mode’ which promises to bring a new dimension to the gaming experience; latest installment of the franchise will release on multiple platforms later this year.
Led by director Krzysztof Rost, a team of Pixar effects artists worked on their own time to produce an abstract, experimental CG short film depicting a field of grass destroyed by a brushfire, only to be reborn.
The Madrid-based studio delivered around 1,000 shots, including underwater scenes and an epic naval battle, on Alejandro Amenábar’s new Movistar+ series.
Audiences take a stunning visual tour of artwork across the ages, including Egyptian hieroglyphics, Aboriginal cave paintings, Middle Age tapestries, and Indonesian shadow puppets, in Oscar-winner Chloé Zhao and Marvel Studios’ superhero adventure.
The fast-loading sequence player allows artists to quickly review animation and supports all industry standard image formats; new features also include floating-point compositing, A/B wipes, and OpenColorIO (OCIO) v2 support.
DNEG’s feature animation division drew on years of cutting-edge VFX production experience to build the pipeline needed to help Locksmith Animation bring Barney and Ron the B*Bot to life.
Sole vendor on MGM’s ‘The Addams Family’ sequel used an open-source node-based app, Gaffer, along with Arnold ray tracing renderer to deliver a rich, stylized CG world, delivering over 1248 shots across 93 minutes.
Leading visual effects studio delivered nearly 400 shots, adding CG elements to everything from icy lakes to forests and high-speed car chases, in MGM’s latest action-packed James Bond spy thriller.
Latest update focuses on artist collaboration and interoperability with render upgrades, workflow improvements, and support of render partners with a new render delegate ‘AVP.’
Leading visual effects and animation house delivers over 750 shots across 20 sequences, including digidoubles, Carnage transformations, and the wraith Venom, on Andy Serkis and Sony Pictures Entertainment's serial killer symbiont sequel to its 2018 box office hit, ‘Venom.’
Early release includes new Angie renderer, enabling CPU and GPU final render based on NVIDIA OptiX; includes full support for OSL allowing greater customization, taking users one step closer to working in real-time.
Morticia, Gomez and crew give ‘Road Trip’ a new meaning; in showcasing iconic North American locales, the studio turned to AWS to manage the extensive assets and complex visual effects needed to coordinate the largely remote work.
