Completing their separation from Framestore, the leading visualization company launches a new facility in the heart of Fitzrovia; company’s Pinewood Studios-based virtual production space also has re-opened.
Tagged With: Techvis
The Disney+ and History series took home the awards for Outstanding Special Visual Effects and Outstanding Special Visual Effects in a Supporting Role on the third night of the 2020 Creative Arts Emmy Awards.
VFXWorld and AWN break down the 10 shows nominated for Outstanding Special Visual Effects and Outstanding Special Visual Effects in a Supporting Role, and the studios behind their spectacular visuals.
VFX supervisor Everett Burrell breaks down the Netflix series’ almost 2,000 VFX shots, a mix of nuclear holocausts, digital characters, time jumps, and a goldfish.
Expanded 3rd Edition, hailed as the most complete guide to visual effects techniques and solutions on the market, is now available for pre-order.
Company carbonizes and de-carbonizes Jeremy Iron’s character, turning the actor into a golden statue, in Damon Lindelof’s highly acclaimed series.
CEO Chris Ferriter, in an open letter, announces that for the past three weeks, the studio has been successfully operating with a 100% remote workforce
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.
VES Award nominee Matt Welford describes ‘supporting visual effects,’ including previs and techvis, on the inaugural episode of the ‘Aquaman’ star’s hit post-apocalyptic action-adventure series.
Industry veteran joins company’s pre-production studio to help merge previs, techvis and postvis together into flexible, storyteller-focused integrated production pipeline.
Studio’s Santa Monica headquarters has a number of job openings, including Previs/Postvis and Unreal Game Engine Artists, and is currently looking for talent to join their industry leading visualization services team.
With the MCU ‘Infinity Saga' now complete, the studio shares a 10-year visual history of their extensive previs, postvis and techvis work on the famed franchise.
Leading visualization studio shares just released images showcasing some of their extensive work on Joe and Anthony Russo’s box office smash, the final film in Marvel’s 22-MCU-movie ‘Infinity’ saga.
Studio’s Santa Monica headquarters has a number of job openings and is currently looking for talent to join their industry leading visualization services team.
Candidate submissions for 10-week, hands-on summer training program that feeds studio’s artist pool must be received by this coming Sunday!
Senior previs/postvis supervisor Gerardo Ramirez discusses the highlights and challenges of the fourteenth collaboration between The Third Floor and Marvel Studios.
Overall VFX supervisor Peter Chiang talks previs, techvis, drones and Chinese sound stages on Steven DeKnight’s sequel to Guillermo del Toro’s 2013 sci-adventure romp.
The previs supervisor discusses a wide-range of visualization work on HBO’s award-winning TV series, as well as her studio’s efforts on Disney’s live-action hit, ‘Beauty and the Beast.’
The GM and executive producer talks in detail about his studio’s previs work on Marvel’s ‘Doctor Strange,’ Disney’s ‘Beauty and the Beast’ and ‘Rogue One: A Star Wars Story.’
The veteran HALON Entertainment supervisor details his studio’s previs work on Marvel’s superhero action adventure hit, as well as their use of game engines and real-time rendering technology.
The veteran Framestore VFX supervisor talks about previs, virtual production and visual development on the first cinematic installment about the magical creatures of J. K. Rowling’s ‘Harry Potter’ universe.
Supervisor James Baker leads the studio’s previs, techvis and postvis efforts on their second ‘Guardians’ and 11th Marvel film collaboration.
The executive producer discusses previs, techvis and postvis on Ridley Scott’s sci-fi adventure hit.
VFX supervisor Mark Bakowski discusses his team’s 10,000 frame, seven-minute ISS interior sequence for Daniel Espinosa’s and Sony’s sci-fi thriller.