Fast growing Swedish VFX and CGI company Goodbye Kansas has replaced previous brands Fido, Bläck, Imagination Studios and Pixel Grinder with Goodbye Kansas Studios, an integrated company consisting of 150 artists and producers.
The LA-based creative agency used PipelineFX’s intelligent render farm manager to create the logo animation shown in films like Oscar-winner ‘Manchester by the Sea.’
Joshua Cox and the Bent Design Lab team evoke imaginative landscapes in CG shorts “Clouds,” “Cards,” and “Circus,” as part of a web and print campaign for Cramer Krasselt and ArcBest.
Uniquely modern fairy tale about love commissioned by social media network Vero and Michael Fassbender and Conor McCaughan’s production company DMC Film is directed by Kibwe Tavares and produced by Factory Fifteen and Nexus, with the animation provided by Chocolate Tribe.
Production VFX supervisor Christopher Townsend integrates the work of artists from around the world to wow audiences with Ego the Planet and other new digital characters in Marvel’s latest sci-fi action adventure hit.
Renowned Weta Digital senior visual effects supervisor to present the evolution of visual effects technology and artistry behind the final film in the trilogy at VIEW 2017 running October 23-27, 2017 in Torino, Italy.
New workflow promotes collaborative and scalable workflow across four Jellyfish Pictures’ sites through new PC-over-IP system.
With offices in India, Malaysia and South Africa, new full-service production and postproduction collective led by VFX industry veterans John Hughes and Helena Packer and film/TV/commercial director Kevin Donovan forms in Los Angeles.
Submissions for 18th annual VFX, computer graphics, games event running October 23-27, 2017 in Turin, Italy accepted through September 15.
Warner Bros. tentpole feature launches new franchise with $225.6 million global bow; DreamWorks Animation’s ‘Captain Underpants: The First Epic Movie’ makes $23.5 million debut.
Trojan Horse was a Unicorn 2017 (THU) a unique, annual 6-day festival for digital artists will take place in Tróia, Portugal from September 18 - 23, 2017.
Conjuring giant elephants, magical serpents and the out-of-this-world CG environments, London and Montréal studios contribute a total of 437 VFX shots to director Guy Ritchie’s Medieval adventure.
Shotgun Software releases the latest version of its leading cloud-based review and production tracking software with plug-and-play integrations, media streaming in RV, and single sign-on.
‘Ghost in the Shell’ will be available on 4K Ultra HD Combo Pack, Blu-ray 3D Combo Pack, Blu-ray Combo Pack, DVD and On Demand July 25, 2017 from Paramount Home Media Distribution, with the Digital HD version dropping early on July 7.
The New Zealand studio tackles 600 shots including the Final Battle, Ego, Rocket, Baby Groot and a host of explosions in Marvel’s latest sci-fi action adventure.
In one of the many SIGGRAPH 2017 TALKS, Hind Wakil and Eli Saliba of Damascus-based Lighthouse VFX will discuss how they worked and survived in a war zone.
The One Club for Creativity awards has honored Framestore with 49 trophies across five projects, including 18 gold awards for ‘Field Trip to Mars,’ all for the production company’s innovative work in virtual and augmented reality.
Studios from Sydney to London help create the visual effects for Ridley Scott’s new sci-fi/horror film.
The Weta Digital VFX supervisor discusses his work on director James Gunn’s latest MCU superhero franchise hit.
Framestore collaborates with VFX supervisor Christopher Townsend to deliver more than 620 shots ranging from creature work, spaceships, ‘the best opening sequence in the world’ and an exhilarating space chase across the Galaxies.
VFX supervisor Jon Cowley assumes role as Head of Production and Senior VFX Supervisor at FuseFX Vancouver facility, bringing 18 years of visual effects experience to projects that include the television series ‘Zoo’ and ‘The Mist.’
The Weta Digital VFX supervisor discusses his work on Luc Besson’s upcoming epic sci-fi adventure.
Industrial Light & Magic’s chief creative officer discusses story development as well as VFX production, virtual tools and Death Star weapon sequences on Gareth Edwards’ ‘Rogue One: A Star Wars Story.’
Clarisse 3.5 to introduce improvements to set dressing, scene assembly, look development, lighting and rendering feature sets and workflows.
The Industrial Light & Magic senior art director discusses his iconic droid design as well as duties as a concept artist on both ‘Star Wars: The Force Awakens’ and ‘Rogue One: A Star Wars Story.’
