The interactive design and game development chair discusses the school’s remote collaboration on innovative game project, including interactive design, animation, visual effects, and sound design; virtual event’s ‘Making of Zoelie’ panel set for April 10.
VFX supervisors Brigitte Bourque and Marshall Krasser share insights into their innovative visual effects work on shows like ‘Upload’ and ‘9-1-1: Lone Star.’
VFX supervisors Ariel Altman and Josh Miyaji share insights into their innovative visual effects work on shows like ‘Mr. Robot,’ ‘Barry,’ and ‘I Know This Much is True.’
‘Stair Climb 500’ freshens up the 60-year-old iconic Charlie the Tuna fresh in the animated/live-action hybrid spot; new ad is first of two collaborations planned for 2021 with PA-based agency Quench.
Haz Dulull and He Sun deliver an exciting game cinematic spot for Rebellion’s latest release, produced with a USD-based Houdini pipeline, Unreal Engine, and Redshift.
Founder Piotr Chomczyk discusses his new visual artist and team cloud workplace that provides high-performance computers for real-time media sharing on animation and VFX projects.
Artists from New Zealand, the Philippines, and North America could take advantage of the U.K. group’s virtual events to attend remotely and collaborate through online review tools.
After expanding their existing remote production capabilities in the face of COVID-19, the Cambridge-based VFX studio delivers 500 shots on the futuristic sci-fi anthology series.
Tangent Labs co-founder Jeff Bell shares how their platform integrates asset management, production and task management, review and collaboration, sketching, draw overs, and note taking to enable transparent, accessible, and innovative animation and VFX creativity.
Studio delivers over 300 shots for satirical comedic drama about the fictionalized rise of Catherine the Great, which required extensive on-location collaboration to create large scale environment extensions for Caserta Palace and the military camp at the Russian Front.
Having already turned to Amazon Web Services, the studio easily moved to full remote production in the cloud this March; company quickly scaled artistic and computing capacity without disruption to delivery schedule.
Jasmin Hasel promoted to executive producer, Europe, and Lauren McCallum appointed head of production, Europe; key appointments will focus on company’s growth in the European market and management of decentralized production pipeline.
Leading tech company’s findings, gathered from nearly 700 IT professionals, focus on lessons learned by organizations forced to face a ‘new normal’ amid the global pandemic.
VFX team provided creatures, CG crowds, FX simulations, environment extensions, and seamless digital shot stitching for the miniseries; 100 artists delivered shots while working and collaborating from home during the COVID-19 lockdown.
Overall VFX supervisor John Mangia and VFX producer Arissa Blasingame’s team delivered over 750 shots, including the haunting chess piece visions, CG vehicles, set extensions and recreations of exotic Mexico, Moscow and Las Vegas locales for Netflix’s hit limited series.
Studio once again teams up with Anomaly and Pacific Rim Films’ Shawn Levy to bring back animated characters for a DICK’S Sporting Goods adventure.
VFX supervisor Ivor Middleton details the production of CG creatures, floating people, and a serpentine British island causeway in the Sky / HBO psychological thriller.
Chilean VFX artist Tomás Vergara’s new ‘WTF-X’ satirical short film series humorously portrays extraordinary CG beings sharing amazingly ordinary life lessons with a bemused young man that begs, the question, ‘What the f*ck?’
Due to COVID-19, producers on the new weekly talk show turned to CBS VFX for a fast, innovative solution to seamlessly and safely integrate L.A. guests into the N.Y.-based production.
Make sure you understand and are compensated for what it actually costs to perform your job remotely.
VFX studio discusses its pre-pandemic move to a cloud-based pipeline, including establishment of best practices and standards, and how they will continue to invest in and expand their virtual, remote production efforts company-wide.
Women in Animation president Marge Dean reflects on hard fought efforts to win voting rights for the disenfranchised, urging everyone spend the next 60 days preparing to vote as well as supporting the voting rights of others; organization posts downloadable Voting Resource Guide highlighting how you can help make everyone’s voice heard.
Produced during the COVID-19 pandemic, creative studio The-Artery uses remotely produced motion capture to show the anonymous band emerge from stasis and blast onstage for an all CG neon-flooded performance.
Studio shares work-from-home reel while announcing new Canadian operations, production resources, and regional talent, as well as slate of new projects.
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.
