Cloud-based platform accelerates collaboration in real-time through connected virtual worlds that provide photorealistic rendering.
Watch: ‘Unreal for All Creators' project by artist/director and his team at The Mill showcases real-time production tools for creators in games, film & television, architecture, and automotive; key assets used in the short’s production now available for download.
Upgrade combines features from V-Ray 5 and V-Ray Next, providing an easier to use rendering solution that is up to 7x faster.
‘Migrants,’ and ‘Box Assassin’ take Jury Special and Best Student Project honors; virtual festival’s annual Electronic Theatre and Animation Theatre showcase an additional 44 top CG animation projects chosen from 577 submissions.
VFX powerhouse has worked closely with Epic to fine-tune Unreal Engine’s strand-based Hair and Fur system; downloadable scene gives users a firsthand look at the production tool in action.
Update to Bifrost visual programming environment brings richer, procedural workflows to more areas of the pipeline and provides artists with powerful new scattering and instancing capabilities, along with volumetrics and FX tools.
This year’s Conference, headlined by keynotes from Oscar-winning director Glen Keane and VFX supervisor Paul Franklin, kicks off its extensive program of live and pre-recorded sessions, running through December 13.
Conference spotlights major breakthroughs, current trends, and innovative CG projects in computer graphics, animation, visual effects and other interactive mediums; sessions begin December 4.
Virtual CAF 2020 showcases juried festival winners, panel talks, and presentations from Cartoon Saloon, Disney, DreamWorks, Framestore, ILM, Netflix, Titmouse and more!
Overall VFX supervisor John Mangia and VFX producer Arissa Blasingame’s team delivered over 750 shots, including the haunting chess piece visions, CG vehicles, set extensions and recreations of exotic Mexico, Moscow and Las Vegas locales for Netflix’s hit limited series.
Berlin-based 3D animator Stacie Ant takes a minimalist approach to capture the Swedish alt-pop star as an avatar in a state of unbalance and overwhelming emotion.
Studio once again teams up with Anomaly and Pacific Rim Films’ Shawn Levy to bring back animated characters for a DICK’S Sporting Goods adventure.
Innovative features optimize productivity by empowering architects, engineers, 3D designers, and motion media professionals to create, render, and multitask faster than ever before.
VFX supervisor Goran Backman details the studio’s creature and environment work on Jon Favreau, Lucasfilm and Disney+’s VES and Emmy Award-winning hit space-adventure series.
UK visual effects studio tackles a choreographed radium dance, WWI battlefield, Hiroshima bombing, and Chernobyl disaster in Marjane Satrapi’s captivating biographical drama.
Overall VFX supervisor David Van Dyke and PXO VFX supervisor Nhat Phong Tran detail the production of the HBO series’ drug-induced gravity-defying spinning hall sequence from Episode 1.
Submit your animated shorts, commercials, game cinematics, trailers, motion graphics, VFX sequences and reels now; if computers played a key role in production, CAF wants to see your work!
Celebrated musician teams with Brazilian studio Zombie on beautifully designed CG animated video chronicling rampant Amazon deforestation.
After moving to a virtual event this December, the festival is now accepting submissions in most every category of CG animation through August 15.
German visual effects studio releases new video highlighting their fantastic environment work recreating life in Berlin, circa 1929, in the political crime drama now playing on Netflix.
Entries now being accepted in multiple categories, including shorts, visualizations, VFX sequences, game cinematics, and real-time pieces; deadline to enter is July 31, 2020.
Highlights include sequences from ‘The Witcher,’ ‘Rocketman,’ ‘Lost in Space’ S2, ‘Avengers Infinity War’ and Avengers Endgame.’
Led by VFX supervisor Aleksadar Pejic, the studio’s London team delivered digital demons and more in more than 250 shots across all eight first season episodes.
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.
Production VFX supervisor Roger Guyett talks creating Princess Leia, the benefits of practical shooting, and bringing the saga to a close.
