Tagged With: Special Effects
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.
Acclaimed creature effects studio currently in production on special effects for ‘Underworld: Blood Wars,’ ‘ Legion,’ ‘The Expanse’ and ‘Prison Break.’
Using photogrammetry to translate physical stop-motion animation into the VR landscape, the ‘Mad God’ experience includes absolutely zero CG characters or environments.
Bicoastal integrated content studio its in-house sister shop for design and VFX bring a new multi-spot campaign for LensCrafters to life through intricate in-camera effects.
Los Angeles-based visual effects house delivers 250 VFX shots providing seamless integration between the practical photography the digital effects for the first season of AMC’s new dramatic series.
Thirty-year-old company opens studio in Toronto, adding to MASTERSFX’s existing array of full-service FX studios based in Los Angeles and Vancouver, BC.
The Third Floor’s virtual production supervisor discusses high precision coordination for shooting actors, cameras, stunts, rigs and backdrops on Ridley Scott’s award-winning sci-fi adventure.
Character effects artists create ‘Brahms,’ the creepy doll featured in Lakeshore Entertainment and STX Entertainment’s new horror movie directed by William Brent Bell.
Screening series for Oscar-winning stop-motion animator and Puppetoons creator runs September 10-13 at the Egyptian Theatre in Hollywood.
There’s going to be something for everyone, young and old, from Gumby fans to animation aficionados at the Citrus College Gumby Fest Stop Motion Festival, Sept. 18-20, at the college, 1000 W. Foothill Blvd., Glendora, CA 91741.
Gumby turns 60 this year, so it’s a great time to celebrate the pop culture icon. Not only is Gumby Fest 2015 full of free family activities, it also provides an inside look into the animation industry from leading film and television professionals. Fans, animation hobbyists and the next generation of animators will enjoy many free panel discussions.
The three-and-a-half minute reel from San Diego Comic-Con 2015 is a montage of behind-the-scenes footage emphasizing the practical sets and visual effects created for the film.
Autodesk engineer and designer Evan Atherton creates ‘Star Wars’-inspired short using RED Epic and Scarlet cameras, as well as a DGI drone and Movi free fly gimbal for aerial shots.
Visual Effects Society affirms noted character company’s successful digital makeup effects techniques.
Latest episode of web series produced by PBS Digital recreates the Millennium Falcon scene from the trailer for ‘Star Wars: The Force Awakens.’