Mobile facial and body motion-capture iOS app for motion designers and VFX artists capitalizes on Apple’s AR-Toolkit; motion sequences can easily be brought into Cinema 4D.
Ryan Crego spent over a decade developing his red-headed bayou crooner, who stars in a new animated musical alongside a group of misfits all looking for a place to belong, premiering on Netflix April 16.
MARZ VFX supervisor Ryan Freer will share the often-invisible VFX on Marvel’s first Disney+ series; three presentations will peek behind the curtain surrounding the year’s first blockbuster VFX-driven tentpole to see monster making up close and personal.
Available now, the new version streamlines color grading through FX and editorial with machine learning features, more tightly integrated toolset, and enhanced support for remote review sessions.
New five-week program covers an interactive introduction to the real-time 3D platform; features a range of artistic and technical tasks with each participant getting direct feedback from an assigned tutor.
Program now open for anyone to create unique MetaHumans for direct use in Unreal Engine; new innovative cloud-based app can create digital humans - in minutes - almost indecipherable from the real thing.
Upgrade is free for anyone who purchased V11 after February 15, 2021; company is donating free licenses to two non-profits that foster diversity and inclusion in the entertainment industry.
The ‘Judas and the Black Messiah’ cinematographer is excited to join the project yet nervous to work on a film that relies heavily on CGI.
New subscription-only version lets users easily browse and intuitively place assets within scenes; includes key animation workflow enhancements and sneak peek at new scene nodes and manager interface.
Founder and CEO Jensen Huang’s keynote shares breakthroughs in building virtual worlds through a convergence of technologies; new Omniverse Enterprise 3D design platform will soon be widely available, allowing for real-time global collaboration across multiple software suites.
To capture the song’s beat and energy, artist Lauren Brems drew fast scribbles over video frames of her friends dancing, integrated with subtle word movement, in her 2D animation short for Universal Music Group’s °1824 division.
VFX supervisor John Kilshaw’s NY team produced the color blossom transformation from initial black and white format, as well as various magic effects and photoreal CG characters like a stork and kaleidoscope of butterflies, on the hit Marvel Studios and Disney+ series.
Studio delivers 268 shots as primary vendor on the Netflix drama, helping visualize souls leaving their bodies with innovative 2.5D approach.
To capture the lyrics’ dark gravity, artist Baptiste Leroux used hand-drawn frames in TV Paint for a textured, stop-motion look, in his short fan film for Universal Music Group’s °1824 division.
In the first of a five piece series on new animated shorts from Universal Music Group’s °1824 division, AWN shows how artist Carolyn Knapp used pieces of paper, gold foil, even her own clothes, along with Photoshop and After Effects, to create an innovative 2D film.
Led by VFX supervisor Ralph Maiers, the studio helped ‘energize’ the magical battle between Agnes/Agatha and her coven of witches in the final episode of the hit Disney+ series.
The studio’s exceptional talent is recognized in 14 different categories, 20 noms in all, for nine different shows, including their latest franchise efforts with the ‘The Croods,’ ‘Trolls,’ ‘She-Ra,’ Guillermo Del Toro’s ‘Tales of Arcadia,’ and the dinosaurs of ‘Jurassic World.’
Cloud-based platform makes motion capture projects achievable with multiple users working simultaneously at different locations; see it in action in Cardi B’s new mini reality series Cardi Tries where she creates a video game with the Xsens MVN Animate suit.
In the third and final discussion, VFX supervisors Steve Meyer and Brad Kalinoski share insights into their innovative visual effects work on shows like ‘Criminal Minds’ and ‘CSI: Crime Scene Investigation.’
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.
Smoking wheels and burning rubber barely scratch the visual effects surface of DreamWorks Animation and Netflix’s high-horsepower street racing thriller, nominated for a Best FX for TV/Media Annie Award for the third season ‘Sirocco Fire Explosion’ finale.
The free virtual 3-day event running April 13-15 will feature presentations from notable creative directors, motion designers, and animation directors; live-streamed event will be available on demand following the show.
Whether its dramatic water splashes, dino drool, or bioluminescent beasts, DreamWorks Animation and Netflix’s adventure series, nominated for a Best FX for TV/Media Annie Award, strives for realistic visual effects that push the story forward through color and lighting.
By using distinctive visual effects as a core series element, almost as a ‘character’ itself, Guillermo del Toro and Netflix’s Emmy Award-winning animated series has garnered an Annie Award nomination for Best FX for TV/Media.
Star-studded virtual ceremony, hosted by barb-slinging Patton Oswalt, included 25 category awards and special honors for VFX supervisor Rob Legato and director Sir Peter Jackson.
