Prague tech company’s new tool creates all in-between frames in any artistic style – oil paint, watercolor, pastel, and others.
Tagged With: Rotoscoping
Art director Justin Wagner and associate art director Chi Duong Sato share an extensive set of high-octane storyboards, environments and concept art from Season 11 of Adam Reed and FXX’s hit animated comedy series.
Artist releases new single and meticulously crafted short, an odd and amusing blend of miniatures, collage, and live-action inspired by Fischer Price toys and Fireman Sam.
VFX studio handles previs, visual effects, postvis, and graphics production for the inaugural season of Armando Iannucci’s space tourism comedy
New book commemorates Fleischer Studios’ beloved, sassy character, celebrating her 90th anniversary this year.
Johannes Leonardo and Nexus Studios’ new film takes touching look at how a young boy spends a lifetime on the road with his Beetle.
Led by VFX supervisor Dave Morley, the studio delivered more than 700 shots for James Mangold’s faithful and exciting depiction of the famous 1966 24 Hours of Le Mans.
Minnow Mountain director Craig Staggs and producer Steph Swope talk hand-drawn frame by frame animation and their unique contribution to Amazon Prime’s acclaimed new series.
Purchase adds rotoscoping, paint, and photo editing plug-ins to the company’s suite of post-production and visual effects applications.
High-end animation and visual effects studio used cineSync extensively to help define, refine and enhance their creative vision and stay in tune with directors Anna Boden and Ryan Fleck.
Deep Learning and AI will certainly continue making inroads into VFX production, but they are merely tools, there to be our creative servant, not our master.
Company veteran has held several senior executive positions prior to taking the helm, effective immediately.
For co-founder and chief scientist Simon Robinson, Roper Technologies’ company purchase better enables the patient, long-term management perspective needed to successfully innovate and support a rapidly changing digital content creation industry.
Art director Chad Hurd and associate art director Justin Wagner share 26 storyboards from Season 10 of Adam Reed and FXX’s hit animated comedy series.
Chad Hurd and Justin Wagner share artwork and creative insights on our favorite FXX animated misfit ensemble that has taken its incessant backbiting to the Cosmos in a new season of robots, aliens, space battles, excessive drinking and boner references.
VFX supervisor Glenn Melenhorst guides studio’s Melbourne team in crafting gentle bear’s performance in Disney’s live-action fantasy adventure.
SPI visual effects supervisor Sue Rowe and her team use simulation tools and a lot of bubbles to tackle a dynamic, action-packed third act in Warner Bros.’ underwater thriller.
Motion graphics systems, digital paint systems, facial geometry capture, rotoscoping and more under investigation for the 2018 Academy Sci-Tech Awards.
Company’s fourth location envisions staffing business with up to 600 artists for 3D conversion and VFX services.
London, Montreal, Vancouver and Bangalore facilities deliver more than 1,000 VFX shots for the first installment of Universal’s ‘Dark Universe’ monster movie franchise.
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.