The creator and visual supervisor discusses his world-building and design work on the upcoming VFX-driven Netflix Original Series.
Directors Hélène Leroux and Fx Goby team up with Google Doodles, Google Spotlight Stories and Nexus Studios to deliver the first-ever interactive 360 degree/VR Doodle celebrating the father of visual effects.
The legendary industry pioneer shares his insights as an artist, director, visual effects supervisor and survivor, including thoughts on digital character performance and conflicts with studio executives.
Colorist Mitch Paulson creates custom looks for his second collaboration with director Ava DuVernay.
Industrial Light & Magic had a blast creating the virtual world of the OASIS and tripping down memory lane with spot-on recreations of the DeLorean from ‘Back to the Future’ or the T-Rex from ‘Jurassic Park,’ but the avatars were much more demanding.
Senior VFX supervisor Tim Ledbury details previs, production and post for Anderson’s second stop-motion animated feature.
Industrial Light & Magic Artists creates the virtual reality world the OASIS for director Steven Spielberg’s mind-bending joyride.
MPC CG supervisor Chris Downs details the production of 350 visual effects shots for director Ava DuVernay’s adaptation of ‘A Wrinkle in Time.’
Oscar-nominated VFX supervisor takes audiences on a quest through the universe for director Ava DuVernay’s adaptation of the sci-fi classic written by Madeleine L’Engle.
Visual effects supervisor Paul Linden helps orchestrate a successful marriage between stunts, special effects and visual effects for the new Lara Croft film.
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.
L.A.-based visualization studio handles previs and postvis on Ava DuVernay and Disney’s new fantasy-adventure film.
Film’s co-director Tony Bancroft joins university as head of new four-year program.
More than 30 companies are slated to exhibit at the festival’s annual job fair being held this year at George Brown College’s Waterfront Campus.
Director Carlos Saldanha’s Oscar-nominated animated feature now available on 4K Ultra HD, Blu-ray and DVD.
Glen Keane’s ‘Dear Basketball,’ Pixar’s ‘Coco’ win animation Oscars; ‘Blade Runner 2049’ wins VFX and cinematography awards.
The overall VFX supervisor riffs on witness cameras, bleak L.A. cityscapes and the super-secret digital recreation of Rachael in Denis Villeneuve’s mesmerizing ‘Blade Runner’ sequel.
Production VFX Supervisor Geoff Baumann assembled and managed the movie’s heavy-hitter vendor lineup to complete more than 2,000 visual effects shots for Marvel’s most recent hit.
Weta’s four-time Oscar-winning senior VFX supervisor talks about the complexities of creating believable digital ape performances in the final film in Fox’s ‘Apes’ trilogy reboot, director Matt Reeves’ futuristic action adventure ‘War for the Planet of the Apes.’
Group of 20 nominees draws on two decades of experience and technological advances, delivering shots that were previously unimaginable.
Academy governors Richard Edlund and Bill Kroyer weigh in on how to acknowledge and reward the growing number of stellar CG character performances.
DNeg VFX supervisor Paul Lambert details the creation of futuristic Los Angeles cityscapes, the holographic Joi, and the visuals for the final act of director Denis Villeneuve’s follow-up to the 1982 sci-fi film noir classic by Ridley Scott.
A team of graduating students from MoPA garner accolades for hyper-realistic animated short with a noir twist.
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.
Pixar feature wins BAFTA Award for best animated film; Roger Deakins wins fourth BAFTA for Cinematography for ‘Blade Runner 2049,’ which also wins for special visual effects.
