Search form

Trevor Hogg's Recent Posts

Venom Returns!

DNEG Causes Considerable VFX Carnage

Leading visual effects house delivers 770 shots, including extensive full CG characters and environments, on Andy Serkis’ ‘Venom: Let There be Carnage,’ Columbia Pictures’ crazed symbiont sequel to its 2018 box office hit, ‘Venom.’

Every Streamer Needs a Great Foundation VFXWorld

Creating the VFX ‘Foundation’ for Apple TV+’s Epic Isaac Asimov Adaptation

A team of visual effects houses, led by DNEG, created 4,000 shots, complete with new worlds, the mysterious Vault artifact, and the enormous Invictus ship, in David Goyer’s expansive and enthralling new series, based on the famed author’s seminal sci-fi book series, now streaming.

We Like Spice! VFXWorld

A Trio Bands Together to Help Denis Villeneuve Make ‘Dune’

By Trevor Hogg | Wednesday, November 17, 2021 at 4:10pm

Two of the director’s previous collaborators - production designer Patrice Vermette and editor Joe Walker - along with first timer, cinematographer Greig Fraser, teamed together to help him bring author Frank Herbert’s famed sci-fi novel, long thought unadaptable in cinema, to the screen.

We Like Spice! VFXWorld

Practical and Digital Effects Expertly Join Forces on ‘Dune’

For Oscar-winning VFX supervisor Paul Lambert and SFX supervisor Gerd Nefzer, the seamless blending of live-action and CG on Denis Villeneuve’s stunning, epic adaptation of Frank Herbert’s seminal sci-fi tome grounded the film in a believable reality, fully immersing audiences in Paul Atreides’ hero’s journey to the dark, foreboding conflict on the universe’s most dangerous planet.

High Quality VFX on a Budget VFXWorld

Bridging into VFX Education with ‘Acting: The First Six Lessons’

Beau Bridges and his daughter Emily, working with David Shapiro and Semkhor Productions, turn Richard Boleslavsky’s seminal book on acting into a film - complete with a recreated 1930s New York - and teaching materials used to show students how to produce high quality, low-cost visual effects.

Feature Film VFX VFXWorld

It’s Game On for Digital Domain’s ‘Free Guy’ VFX

Leading visual effects studio delivered 89 digital environments, 87 gameplay shots, and 347 VFX shots on Shawn Levy’s comedy adventure starring Ryan Reynolds as a bank teller who discovers he’s a background player in an open-world video game.

Fly the Unfriendly Skies! VFXWorld

Scanline Delivers an Abrupt Change in Travel Plans for ‘Blood Red Sky’

Visual Effects studio produces 527 shots on Peter Thorwarth’s harrowing tale of an airplane hijacking gone astray because of one passenger with an unnatural thirst for blood.

I Live My Life A Quarter Mile At A Time VFXWorld

Defying the Laws – or Mere Suggestions – of Physics in ‘F9’

VFX supervisor Daniel Rauchwerger and his DNEG teams in London, Montreal, and Mumbai delivered 2,200 gravity defying visual effects shots, from flipping multiple trailers to shooting rocket car into space, in Justin Lin and Universal Pictures’ latest ‘Fast & Furious’ feature film franchise outing.

TV VFX VFXWorld

ILM is Up to its Void in Alligators with ‘Loki’ VFX

By Trevor Hogg | Thursday, September 2, 2021 at 10:35am

The visual effects giant delivered 500 shots on Marvel Studios and Disney+’s latest MCU episodic adventure, creating the pyroclastic-like trans-temporal monster, Alioth, along with Alligator Loki and the cloudy, ambiguous world where everything pruned by the TVA is deposited.

Feature Film VFX VFXWorld

ILM’s VFX Help Marvel Studios ‘Wing It’ in ‘Black Widow’

The storied visual effects studio delivers 800 shots, tackling the high-octane opening small plane escape scenes, a Budapest shoot-out and car chase across the city, and the widows fight in villain Dreykov’s flying HQ, in Marvel Studios’ most recent MCU action-thriller.

Beware the White Spikes! VFXWorld

Designing ‘The Tomorrow War’s Vicious, Deadly Aliens

For VFX supervisor Jamie Price, the ‘White Spikes’ predators eradicating humans in Chris McKay and Amazon Studios’ original sci-fi thriller had to be agile, scary, and above all, lethal.

May the Best Monster Win VFXWorld

Creating a More Human Kong in ‘Godzilla vs. Kong’

Weta Digital animates key emotional sequences that capture the battling primate’s older, wiser, and more humanoid side; studio also delivers 13 hero environments including Hollow Earth and a military base in Antarctica.

A Cut Above the Rest! VFXWorld

Scanline VFX Tackles the Cosmic Rewind in ‘Zack Snyder’s Justice League’

Led by VFX supervisor Bryan Hirota, studio delivers 1,000 visual effects shots across 22 sequences, from Steppenwolf’s complete redo to the Flash’s epic time reversal.

A Cut Above the Rest! VFXWorld

DNEG Revisits Some Old Friends in ‘Zack Snyder’s Justice League’

Leading VFX studio delivers 430 shots on HBO Max’s long-awaited DC feature redo, picking up where they left off in 2017 on Cyborg, Wonder Woman, and the Flash sequences.

And the Oscar Goes to…? VFXWorld

On the Road to the 93rd Oscars: The Visual Effects Nominees

‘Love and Monsters,’ ‘The Midnight Sky,’ ‘Mulan,’ ‘The One and Only Ivan,’ and ‘Tenet’ vie for this year’s Best Visual Effects Oscar.

Awards VFXWorld

Key TV and Game Contenders for the 2021 VES Awards

This year’s set of animated and VFX-driven TV series and video games represents top visual design and production work that rivals feature film visual effects in both quality and quantity.

Pages

randomness