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.’
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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.
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.
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.
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.
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.
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.
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.
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.
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.
For VFX supervisor Rob Delicata, a much darker new season narrative meant more dramatic visual effects were needed to drive Alfred Pennyworth’s ongoing story of an alternate 60’s London embroiled in a devastating civil war.
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.
VFX supervisor Max Wood oversees 1,800 visual effects shots, filled with a CG gown of moths, three snarling Dalmatians, a wily Terrier, and a fearless, eye-patch-wearing Chihuahua named Wink, in the hit origin story for one of Disney’s most iconic villains.
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.
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.
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.
‘Love and Monsters,’ ‘The Midnight Sky,’ ‘Mulan,’ ‘The One and Only Ivan,’ and ‘Tenet’ vie for this year’s Best Visual Effects Oscar.
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.
This year’s batch of animated and VFX-driven feature films shows that despite the pandemic, artists around the world continued pushing the boundaries of visual storytelling.