Internal email reveals July 5 closure date, attributing the decision to the industry-wide decline in production following the SAG-AFTRA strikes in 2023.
Dan ‘Hashi’ Hashimoto’s step-by-step video uses Maxon and Red Giant tools, along with After Effects, to produce stunning animation and VFX like that used in the film.
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.
Framestore VFX supervisor Christian Kaestner oversees more than 130 awe-inspiring shots for the first film in the Marvel Cinematic Universe to feature a female superhero lead.
Adelaide, South Australia-based studio delivers hundreds of complex VFX shots for the latest addition to the Marvel Cinematic Universe.
Marking the company’s tenth collaboration with Marvel Studios, Munich-based VFX house Trixter delivers CG spaceships, downtown LA environments and a CG cat named Goose for ‘Captain Marvel.’
VFX supervisor Ken McGaugh and animation supervisor Dennis Yoo face the challenges of creating a steampunk-inflected dystopian world inhabited by giant, predator cities on wheels for Oscar-winning VFX artist-turned-director Christian Rivers’ feature adaptation.
Alongside a new featurette produced by primary visual effects vendor DNEG, Oscar-winning VFX supervisor Paul Lambert details the hybrid of practical and digital techniques employed for the cinematic adaptation of ‘First Man: The Life of Neil A. Armstrong.’
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.’
VFX producer Kimberly Nelson LoCascio wrangles two VFX supervisors and multiple VFX houses to help deliver more than 2,300 visual effects shots for director James Wan’s take on the DC Comics super hero.
VFX supervisors Dan DeLeeuw and Kelly Port discuss the challenges of capturing the nuanced performance of Josh Brolin as the philosophical antagonist in ‘Avengers: Infinity War.’
Lead by VFX supervisor Richard Clegg, MPC’s artists craft more than 1,000 shots for Disney’s live-action remake, from CG environments including palaces, forests and rivers, to large-scale FX work and extensive digital character animation.
Oscar-winning global VFX house previously worked with the blockbuster filmmaker on ‘Independence Day: Resurgence’ and ‘2012.’
Oscar-winning VFX supervisor Chris Lawrence and animation director Michael Eames oversee 727 VFX shots -- including 677 featuring creature animation -- for director Marc Forster’s heartwarming return to the Hundred Acre Wood.
Led by VFX supervisors Richard Little and Arundi Asregadoo, MPC Film delivers hero animation for the Upgraded Predator along with the Predator Dogs, a CG swamp environment, and more.
Working on a tight schedule, South Australian visual effects studio produces more than 100 shots for 20th Century Fox’s alien adventure.
Led by VFX supervisor Stephane Paris, the Montreal studio delivers 200 visual effects shots for the latest Marvel Studios feature directed by Peyton Reed.
Led by VFX supervisor Andrew Hellen, Method artists visualize the unimaginable for the new Marvel Studios feature directed by Peyton Reed.
Animal Logic and Lucasfilm Singapore alum has long list of credits including ‘Kong: Skull Island, Rogue One,’ ‘Jurassic World’ and ‘Avengers: Age of Ultron.’
Delivering 229 shots, including a nearly all-CG finale sequence, VFX powerhouse leads work on the two main CG characters -- Colossus and Juggernaut -- as well as providing superhero VFX and animation work.
Production VFX supervisor Dan Glass doubles down on the creation of a more unified Colossus with simultaneous facial capture and voice performance, and geometry-based character animation.
Colorist Mitch Paulson creates custom looks for his second collaboration with director Ava DuVernay.
Senior VFX supervisor Tim Ledbury details previs, production and post for Anderson’s second stop-motion animated feature.
MPC CG supervisor Chris Downs details the production of 350 visual effects shots for director Ava DuVernay’s adaptation of ‘A Wrinkle in Time.’
Oscar-nominated VFX supervisor takes audiences on a quest through the universe for director Ava DuVernay’s adaptation of the sci-fi classic written by Madeleine L’Engle.
