Lawrence Kasdan’s documentary series showcases how a small, hand-picked group of ‘misfit’ filmmakers became the groundbreaking creative studio behind some of Hollywood’s biggest films - now streaming on Disney+.
Tagged With: Special Effects
The streamer also unveils behind-the-scenes images and fresh key art showing the ILM team designing the Millennium Falcon in new Lucasfilm and Imagine Documentaries' series, streaming later this month.
Seasoned ‘Star Wars’ scribe Lawrence Kasdan directs an inside look at the craftspeople who played a pivotal role in cementing the series’ legacy.
The two hit films continue their award-winning ways; ‘Do Not Feed the Pigeons’ wins for Best Short Animation at the Sunday night 2022 EE British Academy Film Awards ceremony.
From ‘2001: A Space Odyssey’ to ‘Close Encounters of the Third Kind’ and ‘Blade Runner,’ the VFX visionary created some of cinema’s most widely influential and iconic imagery, and the ground-breaking processes used to produce them.
‘Encanto,’ ‘Flee,’ ‘Luca,’ and ‘The Mitchells vs The Machines’ get nods in the Animated Film category; ‘Dune,’ ‘Free Guy,’ ‘Ghostbusters: Afterlife,’ ‘The Matrix Resurrections,’ and ‘No Time To Die’ nominated for Special Visual Effects.
Watch a clip of Oscar winners Ben Burtt and Craig Barron sharing insights into the groundbreaking special effects on Humphrey Bogart’s 1950 film, ‘Chain Lightning,’ his last at Warner Bros.
‘Onward,’ ‘Soul,’ and ‘Wolfwalkers’ get nods in the Animated Film category; ‘Greyhound,’ ‘The Midnight Sky,’ ‘Mulan,’ ‘The One and Only Ivan,’ and ‘Tenet’ nominated for Special Visual Effects.
New 2021 rules promote diversity in membership and voting; Pixar’s animated feature ‘Soul’ longlisted in five categories including Best Film, Animated Film, Special Visual Effects, Original Score, and Sound.
‘Star Wars’ effects veteran Phil Tippett reveals the use of stop-mo animation for scrapwalkers in ‘The Believer’ episode of the hit Disney+ series.
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.
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.’