New update to cross-platform, open-source rigging framework features an easy-to-use biped workflow and enables portable rigs across applications.
Studio runs Deadline high-volume compute management software on five to 50 render nodes at any given time to render, manage and process files locally and across the cloud.
Working closely with production VFX supervisor John Dykstra, MPC completes more than 990 shots for 20th Century Fox’s ‘X-Men: Apocalypse,’ including the Cerebro Room, Archangel’s wings, Mystique’s body blades, Nightcrawler’s ‘Bamf,’ and the film’s epic final battle sequence.
Autodesk Flame Family 2017, Maya 2016 extension 2 and 3ds Max 2017 now available; new tools and improvements deliver innovation, productivity and efficiency.
Free update adds new variance-based adaptive sampler and final frame GPU rendering.
ILM animation supervisor discusses the wide range of complicated shots that kept his team scrambling for two years on J.J. Abrams’ blockbuster sci-fi action film.
Autodesk and Shotgun Software play a supporting role in the creation of some of the year’s most lauded films and TV series.
Previs supervisor Brad Alexander and postvis supervisor A.J. Briones take us inside J.J. Abrams’ epic new ‘Star Wars’ adventure.
The Third Floor’s virtual production supervisor discusses high precision coordination for shooting actors, cameras, stunts, rigs and backdrops on Ridley Scott’s award-winning sci-fi adventure.
Beijing-based Light Chaser Animation Studios employs Solid Angle’s Arnold renderer to produce high-quality computer graphics for China’s ‘Little Door Gods.’
Production company reunites with longtime partner for season four of the History channel hit drama.
Australian post-production facilities chop render hours on Marvel-based PlayStation series ‘Powers’ with PipelineFX’s Qube!
Photoreal short derived from an old Japanese folk tale employs physical sets built in the duo’s living room augmented with CG creatures and extensions crafted using Autodesk Maya and Mudbox and rendered in Chaos Group’s V-Ray.
Character rigging master Brad Clark returns once again to put the latest Autodesk software suite update to the test.
Iray plug-ins for Autodesk 3ds Max and Maya support NVIDIA’s new distributed rendering solution, Iray Server, now in open beta.
Dover Studios co-founder Andrew Hazelden releases PlayblastVR, a new renderer for Softimage that creates hardware rendered panoramic 360 degree images using OpenGL.
PipelineFX's flexible render farm manager helps the Academy Award-winning Moonbot Studio's latest short overcome local rendering restrictions by taking to the cloud.
After a long career at Western visual effects studios, the industry veteran’s animated feature film directorial debut hits theatres in China.
Users can earn up to $800 in render credit on the newly-discounted service; Google also launches the Render More website and a competition giving one lucky artist the chance to have their work featured on the site.
Created over the course of seven months, dialog-free animated short pairs sound design and a distinctive visual look and adventurous color palette to help tell the story.
Latest free update boasts 100 new and modified features including Maya 2016 support and advanced VR rendering.
Released by Dover Studios co-founder Andrew Hazelden, Autodesk Maya plug-in RocketComp instantly connects Maya to 10 of the most popular desktop compositing applications in use today.
MPC VFX Supervisor Sheldon Stopsack examines the ins and outs of digitally recreating an iconic action hero for Paramount’s ‘Terminator’ franchise reboot.
Filmakademie Baden-Württemberg graduate Johannes Schiehsl uses Autodesk Maya, Chaos Group’s V-Ray, and Adobe After Effects and Premiere to create his award-winning diploma film, ‘366 Days.’
Led by Encore VFX supervisor and creative director Stephan Fleet, Encore artists in Vancouver and Los Angeles completed anywhere from 30 to 60 VFX shots per episode.
