The studio delivers 590 shots across 20 sequences, including the prehistoric opening, the final battle, and loads of creature work on a T. rex, giant octopus, snappers, and megalodon triumvirate of Apex, Haiqui, and Bob, in Jason Stathom and Warner Bros.’ ‘The Meg’ sequel.
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The industry veteran brings 30+ years of experience across television and film with credits on projects including ‘The Curious Case of Benjamin Button,’ ‘Tron: Legacy,’ ‘Cosmos: A Spacetime Odyssey’ and ‘The Orville.’
Promotions and new appointments across the studio include Head of VFX David Cordon, Head of CG Tamar Chatterjee, and VFX Supervisor Mary Stroumpouli.
Artists and studios gain broader accessibility to products and tools with Krakatoa and XMesh source code available for Autodesk Maya under Apache 2.0 open source license; artist tools simplify rendering, VFX, and simulation workflows.
A fireside chat with ‘Love, Death + Robots’ creator Tim Miller and talks with Wētā Digital / Unity, Animal Logic, Framestore and other top studios about the latest in cloud-enabled content workflows and products highlight Amazon Web Services’ conference plans this coming August 8-11.
Leading visual effects studio delivers 217 shots across 11 sequences in the DC thriller’s action-packed third act, including the destruction of seven dams and subsequent tsunami that engulfs Gotham Square Gardens.
VFX studio tackles a series of long, digitally stitched-together riverbed battle sequences in the Korean War drama, China’s most expensive, and highest grossing movie ever.
Leading visual effects studio delivers 233 shots across 12 sequences, including the action-packed battle through Camden between the deviant Kro and Eternals Sersei and Sprite, turning a double decker bus into rose petals, and extensive cosmic FX work including suns, big bang explosions, and supernovas, on Marvel’s latest MCU adventure.
Streaming giant takes a giant leap in production horsepower with the purchase of one of the industry’s leading visual effects studios.
Visual Effects studio produces 527 shots on Peter Thorwarth’s harrowing tale of an airplane hijacking gone astray because of one passenger with an unnatural thirst for blood.
Leading visual effects studio delivers 163 shots across 4 sequences, including Natasha Romanoff’s car exploding and rolling across a bridge in her fight with Taskmaster, for Marvel Studio’s latest MCU action adventure.
Led by VFX supervisor Bryan Hirota, studio delivers 1,000 visual effects shots across 22 sequences, from Steppenwolf’s complete redo to the Flash’s epic time reversal.
Studio delivers 60 minutes of spectacular visual effects, including epic battles, destruction and Clegane brothers fight on final three episodes of HBO’s hit fantasy adventure series, ‘Game of Thrones.’
VFX producer Kimberly Nelson LoCascio wrangles two VFX supervisors and multiple VFX houses to help deliver more than 2,300 visual effects shots for director James Wan’s take on the DC Comics super hero.
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.
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.
Made for $150 million, Joe Wright's big-budget Neverland origins story could lose between $130 million to $150 million for Warner Bros.