The leading visual effects company delivers 328 shots from its Montreal facility, with another 233 from its London facility, including heavy magical element simulations, a swarm of bees transforming into a human, and the wish fish girl, on the Paul Feig fantasy adventure now streaming on Netflix.
Reallusion’s latest release provides the tools to create powerful, groundbreaking facial realism in 3D game and cinematic characters of any gender, age, and ethnicity.
The company’s General Manager of M&E, Richard Kerris, takes a deep dive into the processes and promise of NVIDIA’s groundbreaking creative platform.
Leading visualization company provides key techvis to help the production team make informed creative and financial decisions by first enabling exploration of virtual scenes and providing what amounted to a ‘digital storyboard.’
The premier conference and exhibition on computer graphics and interactive techniques runs August 6-10 in Los Angeles and online.
The studio delivers 500+ seamless VFX shots for the gripping climax – involving a railway showdown - of the Netflix original dark comedy about a young woman who takes revenge on her abusive alcoholic husband.
The visual effects studio's team, led by VFX supervisor João Sita and animation supervisor Fernando Herrera, delivered 200 shots that featured a bed that walks and floats, an animated stuffie named Pig, and a massive flying Canadian goose, on the fantasy adventure now streaming on Netflix.
Promotions and new appointments across the studio include Head of VFX David Cordon, Head of CG Tamar Chatterjee, and VFX Supervisor Mary Stroumpouli.
Marketing Consultant Robert Moore shares his insights on how new high-performance, high-efficiency, NVIDIA GPU-based Supermicro servers optimized for NVIDIA Omniverse™ Enterprise, are enabling new paradigms of distributed, collaborative entertainment content production.
Production VFX Supervisor Ryan Tudhope helped marshal 2,400 shots that seamlessly blended live-action plate photography with practical and digital effects, including full CG jet replacements and the addition of various armaments, for Joseph Kosinski’s hit ‘Top Gun’ sequel starring Tom Cruise.
With an exclusive ‘Wishing Star Battle’ breakdown reel to help illustrate, the visual effects supervisor takes us behind the digital curtain, sharing lookdev mandates, design directives, and production realities on how our titular feline hero, as well as the Wolf, Perrito and other characters came to life, on the Oscar-nominated 3DCG animated feature.
The veteran visual effects and performance-capture expert, and current M&E director at AMD, talks about exciting, seismic changes taking place in visual effects and virtual production.
Designed for the media and entertainment industry, the new previsualization integration streamlines review and collaboration with real-time preview of 3D models.
The visual effects supervisor discusses creating the show’s iconic, disembodied hand, along with the demonic Hyde creature and spooky Nevermore Academy, on Netflix’s hit supernatural coming-of-age comedy, recently renewed for Season 2.
The hybrid edition, focusing on the art, technology, and business of animation, visual effects, and interactive and immersive media, returns to Stuttgart April 25-27 with an exclusive online day April 28.
An early adopter of real-time tech, the London-based VFX studio promotes its Head of Studio to serve alongside creative director Chris Lunney and founder Nic Hatch.
The 40x80x16 foot LED Virtual Production Volume wall displays interactive, computer-generated perspectives and includes an LED ceiling for fully immersed lighting.
Hosted by Post New York Alliance (PNYA), the Hollywood Professional Association (HPA), and Fuse Technical Group, the January 26 event will explore how filmmakers can utilize Unreal Engine to enhance their projects, including presentation, speakers, and Q&A.
Returning in April as ‘climate-friendly’ certified, the event will feature discussions on sustainability in film and media production; programming announcements include a look at animated shorts ‘A Flammable Planet’ and ‘Can’t Negotiate the Melting Point of Ice,’ and advancements of AI Rotoscoping.
The latest release features new deployment options, new Omniverse connectors, and enhanced performance for optimized workflows that connect 3D pipelines to develop and operate large-scale, physically accurate virtual 3D worlds.
Visual effects supervisor Nikos Kalaitzidis discusses the studio’s work helping create incredible lightning effects for Dwayne Johnson’s titular Teth-Adam character, along with other powers, such as the zip effect, and an ‘electrocuted baddie,’ in the Warner Bros. DCEU action-adventure.
Visual Effects Supervisor Jay Worth talks about the HBO sci-fi thriller’s fourth – and final – season, and his long tenure on the show, which set a new high production value bar for streaming series.
Working directly with visual effects vendors during pre-production and communicating constantly with those houses as well as the film’s three editors during the entire production through postvis, were key to helping director Ryan Coogler get his ‘Black Panther’ sequel to the screen.
Free virtual presentation explores how Vū’s virtual production environment, coupled with NVIDIA RTX™ A6000 professional GPUs, optimizes workflows, pushing the boundaries of creative possibilities.
In an extensive Q&A, VFX Supervisor Sheldon Stopsack talks about the studio’s multifaceted contributions to the Warner Bros. DCEU action-adventure, starring Dwayne Johnson in the titular role, now screening in theaters and available on Blu-ray + DVD.
