A real-time animation primer for the uninitiated.
The Ireland-based 2D company announces a €500k pipeline and infrastructure investment and key new hires, including new Head of Studio, 30+ year industry vet Brian Gilmore.
Transmedia creator and ‘SUMMER ISLAND’ author Steve Coulson discusses AI-generated content and the disruptive future of entertainment.
The former Walt Disney Studios exec joins the company March 28 in the newly created role; studio also announces Harry Linden came on board as head of Stop Frame Production earlier this month.
Why is Disney opening their new production studio in Vancouver? Look around you.
Abhijeet Nawsagare named head of pipeline across all offices; Brandon Young joins LA office as CG supervisor.
The studio will provide mentorship, guidance, and $5,000 CAD for up to three applicants with compelling storytelling and visionary series concepts; submissions open July 19.
Using Xsens, iPhones and Unreal Engine, the animation and game studio has tailored their pipeline for safe, remote motion-capture production.
Creative references and resources from 2008 through today.
Production designers Szymon Biernacki and Marcin Jakubowski helped create an innovative, distinctive 2D aesthetic for Sergio Pablos’ delightful new Christmas film, now showing on Netflix.
Debuting today on Netflix, the ‘Despicable Me’ co-creator’s passion project, almost 10 years in the making, shows that with hard work, patience and a bit of new technology, 2D animated filmmaking is as compelling, and spellbinding, as ever.
For first-time VFX supervisor Stirling Duguid, animating water, lava, pig snot and millions of feathers was only part of the fun producing the sequel to Rovio’s 2016 animated hit, ‘The Angry Birds.’
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.
And provides lessons for the Middle Kingdom.
MPC VFX supervisor Richard Clegg and his team create fully CG environments and complex digital characters such as Mother Ginger, the Mouse King, and an army of seven-foot tin soldiers for Disney’s new feature film adaptation of the classic holiday tale.
SPI visual effects supervisor Sue Rowe and her team use simulation tools and a lot of bubbles to tackle a dynamic, action-packed third act in Warner Bros.’ underwater thriller.
Unified system streamlines the VFX production process for shows such as The Flash, Supergirl, Legends of Tomorrow and SEAL Team.
Hand-in-hand with filmmakers, FotoKem’s creative and technical teams supported global production on a massive scale.
Shotgun 7.6 adds new analytics feature set for VFX and animation.
Thinkbox Software will preview on-demand, per-minute licensing for Deadline and third party rendering option, including The Foundry's NUKE Render.
Rebuilt from the ground up, The Foundry’s KATANA 2 becomes the powerful core of an advanced but flexible pipeline.
