For Beijing-based Light Chaser Animation, Foundry has played an essential role in the studio’s growing success in producing visually compelling and beautifully designed CG animated feature films.
Tagged With: Special Effects
Third-generation special effects supervisor Jeremy Hays talks about producing realistic snow, rivers and cracking ice on the new film adaptation of Jack London’s famous novel.
‘Grandad was a Romantic’ by Maryam Mohajer wins for British Short Animation; Roger Deakins wins for Cinematography on ‘1917.’
‘A Shaun The Sheep Movie: Farmageddon,’ ‘Frozen 2,’ ‘Klaus’ and ‘Toy Story 4' get nods in Animated Film category; ‘1917,’ ‘Avengers: Endgame,’ ‘The Irishman,’ ‘The Lion King’ and ‘Star Wars: The Rise of Skywalker’ nominated for Special Visual Effects.
The Visual Effects Society releases work project submissions guidelines for upcoming Awards consideration, including information on a new category, qualification changes and deadlines.
Acclaimed creature FX studio co-produced and created puppets, prosthetics, animatronics and more for the Netflix feature.
A diverse group of nine female creative professionals working at Pixomondo share their career histories, motivations and insights from navigating a male-led industry.
VFX supervisor Paul Lambert, DFX supervisor Tristan Myles, miniature effects supervisor Ian Hunter and special effects supervisor J.D. Schwalm receive Academy Awards for their contributions to director Damien Chazelle’s historical biopic.
‘Incredibles 2,’ ‘Isle of Dogs’ and ‘Spider-Man: Into the Spider-Verse’ receive nominations in the Animated Film category; ‘Avengers: Infinity War,’ ‘Black Panther,’ ‘Fantastic Beasts: The Crimes of Grindelwald,’ ‘First Man,’ and ‘Ready Player One’ nominated for Special Visual Effects.
Ten Oscar hopefuls vie for nominations at the Academy of Motion Picture Arts & Sciences’ annual Visual Effects Bake-Off.
Alongside a new featurette produced by primary visual effects vendor DNEG, Oscar-winning VFX supervisor Paul Lambert details the hybrid of practical and digital techniques employed for the cinematic adaptation of ‘First Man: The Life of Neil A. Armstrong.’
Alongside primary visual effects vendor DNEG, Oscar-winning VFX supervisor Paul Lambert and production designer Nathan Crowley employ a hybrid of practical and digital techniques for the cinematic adaptation of ‘First Man: The Life of Neil A. Armstrong.’
Industrial Light & Magic employs its traditional hybrid approach to combining practical and CG effects for grounded performances.
MPC CG supervisor Chris Downs details the production of 350 visual effects shots for director Ava DuVernay’s adaptation of ‘A Wrinkle in Time.’
Group of 20 nominees draws on two decades of experience and technological advances, delivering shots that were previously unimaginable.
One of five films to receive a nomination for best visual effects in this year’s race for Oscar gold, ‘Episode VIII’ mixes new characters with those from the 1977-1983 films in wholly new environments.
Oscar-nominated VFX supervisor details the myriad challenges in bringing director James Gunn’s blockbuster sequel to the screen.
Supervising Animatronics Designer with film credits including ‘Prometheus,’ and Star Wars movies ‘Rogue One,’ ‘The Force Awakens,’ ‘Solo,’ and director Rian Johnson’s ‘Star Wars: The Last Jedi.’
Academy gives nod to supporting visual effects with nomination of Industrial Light & Magic team led by VFX supervisor Craig Hammack for director Peter Berg’s depiction of the disastrous 2010 Gulf of Mexico oil rig explosion and spill.
LAIKA head and ‘Kubo’ director and producer Travis Knight receives the studio’s first BAFTA Award; Disney’s The Jungle Book awarded for Special Visual Effects.
ILM chief creative officer and senior visual effects supervisor John Knoll -- nominated for an Oscar alongside VFX supervisor Mohen Leo, animation supervisor Hal Hickel, and special effects supervisor Neil Corbould -- details the challenges of bringing the continuing saga of the Skywalker family to the big screen.
Digital puppetry series about a father and son who just can’t seem to connect was created by special effects artist Ben Bayouth, who also designed and built the puppets and voices Blark, the father alongside son Christopher Mintz-Plasse.