VFX powerhouse DNEG has shared 106 images with AWN, showing in extensive detail some of the concept art and VFX imagery their team, led by VFX supervisor Alessandro Ongaro, produced for Sony Pictures Imageworks on the latest 'MiB' franchise hit, 'Men in Black: International.'
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VFX supervisor Jerome Chen discusses staying true to the ‘MiB’ franchise look, and meeting audience expectations, while producing 2,000 visual effects shots in only six-months.
VFX supervisor Joern Grosshans and team tackle the Stark Jet, CG drones and satellites, tulip fields and a Spidey suit-building machine in Sony Pictures Entertainment’s action adventure hit.
Directing duo Christian Chapman and Paul Jason Hoffman’s micro-budget film, their debut narrative short and first use of visual effects, envisions the wild sensory experiences of a German Shepherd’s late-night forest prowl.
VFX supervisor Phil Brennan describes the making of Jean Grey’s cosmically altered telekinesis, her childhood car crash, an enhanced Cerebro and the 3rd act prison train.
Production VFX supervisor Guillaume Rocheron, MPC, Method Studios and DNEG describe the creative and technical challenges of bringing four gigantic kaiju to the screen in ‘Godzilla: King of the Monsters.’
Framestore’s Jonathan Fawkner and MPC’s Pete Dionne discuss the various ways visual effects were produced to help director Rob Letterman bring the smart-aleck yellow cartoon sleuth to the screen.
VFX supervisor Chris White shares how New Zealand’s visual effects masters leveraged a decade of ‘Planet of the Apes’ digital character excellence for Netflix’s dysfunctional superhero family adventure series.
Re-teaming as co-directors, Johnston and Moore push every boundary they can in ‘Ralph Breaks the Internet,’ the long-awaited sequel to Disney’s 2012 hit animated comedy adventure.
VFX supervisor Glenn Melenhorst guides studio’s Melbourne team in crafting gentle bear’s performance in Disney’s live-action fantasy adventure.
Disney’s environments team had their hands full turning the net’s abstract vastness into a relatable and appealing digital world.
Artists at the former Atomic Fiction VFX house lend their talents to an epic crash landing and mid-air battle in Shane Black’s ‘Predator’ sci-fi adventure reboot.
Production designer Cory Loftis and head of animation Renato dos Anjos discuss 60s-inspired character designs in the studio’s new ‘Wreck-it Ralph’ sequel.
Studio group announces its extensive schedule of talks and presentations for the upcoming computer graphics conference and exhibition in Vancouver.
Research group releases paper detailing a new way to art direct hair animation and provide greater artistic control.
Center assisted painters by providing detailed reference, visual effects, compositing and editing for Oscars-nominated feature.
The supervising technical director discusses production on Disney and Pixar’s long-awaited hit animated sequel, Finding Dory, including the design and animation of the film’s eight-legged heroic cephalopod.
NVIDIA shows first interactive demo of an Isaac lab trained robot in NVIDIA Project Holodeck at SIGGRAPH 2017.
VFX supervisor Jessica Norman’s London, Montreal and Bangalore teams handle nearly 500 shots on Warner Bros. DC Comics-inspired hit superhero film.