VFXWorld and AWN break down the 10 shows nominated for Outstanding Special Visual Effects and Outstanding Special Visual Effects in a Supporting Role, and the studios behind their spectacular visuals.
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.
Third-generation special effects supervisor Jeremy Hays talks about producing realistic snow, rivers and cracking ice on the new film adaptation of Jack London’s famous novel.
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.
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.
Leading visual effects studio completes 2,168 shots for Disney and Angelina Jolie’s fantasy adventure follow-up to their 2013 hit, ‘Maleficent.’
Led by VFX supervisor Dave Morley, the studio delivered more than 700 shots for James Mangold’s faithful and exciting depiction of the famous 1966 24 Hours of Le Mans.
For VFX supervisor Louis Morin, Tom Harper’s wild ride through the skies of 1862 London was a journey filled with live-action shoots, stunts, digital doubles and one super-cold sound stage.
A young city girl helps a mysterious Yeti elude his captors as they travel 2,000 miles to reach his Himalayan home in the new DreamWorks Animation and Pearl Studio co-produced animated feature film.
VFX powerhouse MPC's animation supervisor Stephen Enticott discusses how the studio balanced photorealism with emotion while crafting the engaging performances in ‘The Lion King,’ Disney’s latest hit animated classic remake.
VFX supervisor Jerome Chen discusses staying true to the ‘MiB’ franchise look, and meeting audience expectations, while producing 2,000 visual effects shots in only six-months.
VFX supervisor Joern Grosshans and team tackle the Stark Jet, CG drones and satellites, tulip fields and a Spidey suit-building machine in Sony Pictures Entertainment’s action adventure hit.
VFX supervisor Phil Brennan describes the making of Jean Grey’s cosmically altered telekinesis, her childhood car crash, an enhanced Cerebro and the 3rd act prison train.
Production VFX supervisor Guillaume Rocheron, MPC, Method Studios and DNEG describe the creative and technical challenges of bringing four gigantic kaiju to the screen in ‘Godzilla: King of the Monsters.’
Animation supervisor David Clayton shares how his team brought down the fire-breathing Rhaegal with a giant bolt, and Crum the giant wight with a small knife, in HBO’s hit action-adventure series.
The studio revisits and revamps Hulk, Marvel’s smash-‘em-up, fan-favorite digital character they first brought to the screen back in 2003.
Framestore’s Jonathan Fawkner and MPC’s Pete Dionne discuss the various ways visual effects were produced to help director Rob Letterman bring the smart-aleck yellow cartoon sleuth to the screen.
With a 'snap,' Weta Digital helps brings closure to both Josh Brolin’s seemingly unstoppable villain and the foundational storyline from the MCU’s first 10 years.
From defying gravity to expressing emotion in a believable way, reality was key for animation supervisor Catherine Mullan and the team of artists at MPC.
Alongside primary visual effects vendor DNEG, Oscar-winning VFX supervisor Paul Lambert and production designer Nathan Crowley employ a hybrid of practical and digital techniques for the cinematic adaptation of ‘First Man: The Life of Neil A. Armstrong.’
