Further fortifying its footprint within France and abroad, French animation studio Mikros plans to hire 400 animators for its Paris, Belgium and Montreal studios.
Tefft Smith II discusses the extensive use of pitchvis, previs, techvis and postvis on Brad Bird’s new fantasy adventure.
Stuttgart, Germany-headquartered CG house expands U.K. team led by Mark Gallie with the appointments of EP Caroline Holton, CD Arren Perfetti and production head Dave Weygang.
As one of the main visual effects vendors on the film, Method Studios delivers 247 complex VFX shots for ‘San Andreas,’ including the entire downtown Los Angeles sequence, in which an earthquake decimates the city.
Unique, annual five-day festival for digital artists running September 15-19 announces a fresh line-up of 31 renowned speakers, regional meet-ups, and THU TV.
Industrial Light & Magic VFX supervisor Eddie Pasquarello takes AWN on a whirlwind tour of the studio’s work on director Brad Bird's live action Disney feature.
Helping bring all the mayhem and madness of ‘Mad Max: Fury Road’ to the screen was Iloura’s Sydney studio, led by VFX supervisor Tom Wood. With two major sequences – a toxic sandstorm and evil warlord Immortan Joe’s stronghold, The Citadel – plus hundreds of stunts and vehicle crashes to contend with, Iloura was involved in more than 1,700 VFX shots. Here’s a selection of some of their great work on the film.
Iloura’s VFX supervisor tackles the effects for George Miller’s iconic post-apocalyptic adrenaline-filled feature, including a toxic sandstorm and evil warlord Immortan Joe’s stronghold, The Citadel.
VFX house Digital Domain is honored at the 2015 AICP Awards for Best Visual Effects for its work on the Destiny “Become Legend” commercial.
Leading DI house colorist Stephen Nakamura employs Blackmagic Design’s DaVinci Resolve for D-Cinema and Dolby Vision color grades for director Brad Bird’s sci-fi adventure ‘Tomorrowland.’
Non-profit organization dedicated to the advancement and development of previs across disciplines including feature film, television, commercials, games, visualization and architecture announces the first of many planned initiatives.
New television ad for Marvel’s ‘Ant-Man’ reveals additional footage, showcasing the film’s humorous edge but still packed with plenty of action.
Swedish VFX and animation studio Fido creates hundreds of 80s-tinged VFX shots with everything from green screen compositing to characters riding atop a Tyrannosaurus Rex for David Sandberg’s ‘Kung Fury.’
Burbank and Vancouver-based visual effects studio creates a CG river of ooze, CG ships, CG set extensions and more for the second season of WGN America’s first original series.
The Foundry announces immediate availability of 3D content creation software MODO 901.
David Sandberg’s Kickstarter-funded short features elaborate CG characters and environments created in 3ds Max, Maya and Mudbox
Academy Award-Winning digital production studio Digital Domain teams with immersive technology provider to form new joint venture aimed at creating cutting-edge interactive experiences.
Quebec government is lending Montreal-based visual effects studio $1 million to expand its operations, part of a $4 million investment.
Thirteen-year commercial production veteran to oversee operations, sales and marketing for Digital Domain’s Advertising and Games division.
Rebuilt from the ground up, The Foundry’s KATANA 2 becomes the powerful core of an advanced but flexible pipeline.
Render farm management software adds faster bulk submission, Yosemite OS X platform support, and variable controls for submitted jobs.
Rounding off four days of speakers and presentations, the 20th Anniversary edition of the FMX Conference on Animation, Effects, Games and Transmedia concludes with a special screening of ‘Avengers: Age of Ultron’ with Marvel VFX Supervisor Christopher Townsend in attendance.
Veteran Flame artist Toby Brockhurst has worked on effects-driven spots for major brands such as Kia, Guinness, Volvo, EA Sports and BMW.
The Third Floor studio manager Duncan Burbridge discusses the company’s previs business as well as their recent work on ‘300: Rise of an Empire.’
Martin Preston discusses the use of the Arnold renderer from Solid Angle on 'Gravity,’ and his role as head of research and development at Framestore.
