Visual artists can now access thousands of mocap assets through plugins or directly on the studio website.
Real-time creative review tool works with Unreal Engine, Unity 3D and Autodesk Maya, reflecting changes instantly across platforms.
New features, including compatibility with Oculus Quest headsets, provide business with innovative ways to achieve remote communication.
Led by VFX supervisor Aleksadar Pejic, the studio’s London team delivered digital demons and more in more than 250 shots across all eight first season episodes.
Irish software company’s AI-assisted software helps 3D artists accelerate and streamline creative workflows.
FXG’s Nikk Mitchell takes you on a 360-degree tour of his quarantined community
VFX supervisor Josh Simmonds and his team create the pivotal Austrian Alps avalanche sequence for Searchlight Pictures’ dark comedy.
New plug-in provides seamless integration with Cinema 4D, providing easy real-time creation of models and animations.
Latest release includes new levels of security, faster imports and enhanced editorial control.
VFX supervisor John Heller discusses how his FuseFX team delivered over 800 shots of invisible, photorealistic visual effects on the otherworldly Stephen King crime thriller.
New iPhone and iPad Pro app uses Apple AR-Toolkit to facilitate facial and body motion capture for Cinema 4D.
Led by VFX supervisor Aladino Debert, the Oscar-winning studio delivered around 160 shots for the second season of Netflix’s popular reimagined sci-fi adventure series.
Led by VFX supervisor Max Riess, teams from Frankfurt, Stuttgart, Toronto and Los Angeles delivered more than 268 final shots over a 22-month period.
New version includes UI and tool improvements, CARA VR node performance improvements through Blink and BlinkScript update, and speed improvements for artist and team reviews.
VFX studios on both films, Oscar nominees for Best Visual Effects, successfully used artificial intelligence in GPU-accelerated effects: ILM for character de-aging and Digital Domain for digital humans.
Heading into this coming Oscar Sunday on February 9th, catchup on AWN’s coverage of the films and creative teams nominated for this year’s Best Visual Effects.
Production VFX supervisor Roger Guyett talks creating Princess Leia, the benefits of practical shooting, and bringing the saga to a close.
Production VFX supervisor Guillaume Rocheron discusses the special challenges involved in creating the illusion of grim reality in Sam Mendes’ Oscar-nominated epic World War I drama.
Tech giant’s Media & Entertainment software powers the studios behind Academy Award, BAFTA, Annie, VES and Golden Globe-nominated films.
Nominated for a Best Visual Effects Oscar, Jon Favreau’s VES Award-winning hit was a masterpiece of photorealistic animation and state-of-the-art virtual production.
Writer-director will present his Oscar-nominated film, Netflix’s first original animated feature; ‘Mulm,’ the first 2020 conference trailer, is released.
Filmakademie Baden-Weurttemburg team honored as top up-and-coming filmmakers with annual award sponsored and presented by Autodesk at 18th Annual Visual Effects Society gala.
Director and co-writer Jérémy Clapin talks about the narrative and technical challenges in making his Oscar-nominated, Annie Award-winning film.
VFX supervisor Pablo Helman discusses the sophisticated digital de-aging process, sans markers, used to depict Robert De Niro, Joe Pesci and Al Pacino over a four-decade span.
‘The Lion King’ tops all photoreal features with three awards; ‘Missing Link’ is top animated feature film; ‘The Mandalorian’ leads broadcast wins.
