New feature includes a library of classic lighting scenarios with over a dozen presets that can be customized or replaced entirely via in-built generative AI prompt; now available via the Previs Pro app.
Expansion to state-of-the-art facility with up to 250 artist positions grows the company’s international footprint and ability to take on more ambitious work; expansion also planned at Los Angeles headquarters.
Visualization supervisors Christopher McDonald and Maike Fiene discuss their teams’ expansive and extensive efforts, from previs to postvis and final, including helping devise camera angles and character movements, on Nessarose Thropp’s levitating wheelchair, Elphaba taking flight, and Doctor Dillamond sequences, on Jon M. Chu’s hit musical adventure.
Take a deeper look at ‘Alien: Romulus,’ ‘Better Man,’ ‘Dune: Part Two,’ ‘Kingdom of the Planet of the Apes,’ and ‘Wicked,’ all vying for the Best Visual Effects Oscar on March 2, 2025.
Designed to support the creation of spatial content, the system accurately captures real-world objects, human motion, and backgrounds, recreating them in virtual environments for 3DCG production.
The leading visualization studio’s work involved animating and editing a number of sequences, including a boat crash and shark chase, for the StudioCanal film about a group of friends who meet up for a wedding in the Caribbean and become stranded at sea after their boat sinks.
The Oscar-winning VFX supervisor once again teams up with filmmaker Denis Villeneuve for the second of three adaptations of Frank Herbert’s seminal sci-fi tome, shooting practical wherever possible to capture the right desert light, shadow and tone.
From the innovative use of mocap for fast prototyping with virtual story reels to choosing the right cameras to ensure a proper sense of scale on massive sets and environments, the cinematographer discusses how he handled layout and composition on Josh Cooley and Paramount’s 3DCG origin story of how two best friends became the sworn enemies Optimus Prime and Megatron.
From the Minotaur and the Chimera to the Underworld and the pit of Tartarus, Senior VFX Supervisor Erik Henry talks about what it took to create the mythological universe for the hit Disney+ series, now streaming.
Senior VFX Supervisor Lawren Bancroft-Wilson talks about the panoply of creative forces that came together to produce realistic visuals for the Disney+ and Hulu series that’s based on R.L. Stine’s famous young adult horror novels.
‘RADiCAL for Pre-Production’ includes extensive new features that enable teams to create, simulate, and iterate on scenes and set design with real-time 3D visualization.
The leading visualization studio’s work focused on the cave sequences and all scenes ‘dragon related’ on Juan Carlos Fresnadillo and Netflix’s fantasy adventure about a dutiful ‘damsel’ who marries a handsome prince, only to find herself trapped inside a cave with a fire-breathing dragon to settle an ancient debt.
Lucasfilm’s mystery-thriller set 100 years before ‘Star Wars: Episode I — The Phantom Menace’ will not return for a second season; numerous negative reviews calling the series too ‘woke’ may be to blame.
Award-winning VFX supervisor Richard Bluff talks about his work delivering more than 4,000 shots on the Disney+ Star Wars spinoff that has just been nominated for five Emmy Awards.
VFX Supervisor Wojciech Zielinski talks about adding depth, breadth, and grit to the 2,596 visual effects shots produced for the second season of the hit Paramount+ sci-fi series, adapted from one of the most popular video game franchises of all time.
VFX supervisor Chris MacLean talks about the stunning visuals – 3,215 shots in all - that depict the worlds, characters, ships, and creatures of the hit sci-fi series, based on Isaac Asimov’s famed Hugo Award-winning sci-fi trilogy about Dr. Hari Seldon’s mathematical ‘psychohistory’ predictions; now streaming on Apple TV+.
In the mystery-thriller, which takes viewers into a galaxy of shadowy secrets and emerging dark-side powers in the final days of the High Republic era, someone is killing young Jedis… no one is safe, and your own eyes cannot be trusted; the series debuts June 4 with its first 2 episodes.
Studio’s VFX team delivered over 800 shots, including all space environments, on director Johan Renck’s sci-fi drama starring Adam Sandler and Carey Mulligan; film now streaming on Netflix.
Hailing from Epic Games, Original Force and Wētā FX, the 28-year industry veteran will oversee and guide the studio’s technological vision and exploration of real-time workflows to produce feature-quality animation.
The mystery-thriller, which take viewers into a galaxy of shadowy secrets and emerging dark-side powers in the final days of the High Republic era, debuts June 4 with its first 2 episodes exclusively on Disney+.
Take a deeper look at ‘The Creator,’ ‘Godzilla Minus One,’ ‘Guardians of the Galaxy Vol. 3,’ ‘Mission: Impossible – Dead Reckoning Part One,’ and ‘Napoleon,’ all vying for the Best Visual Effects Oscar at the 96th Academy Awards coming March 10, 2024.
VFX supervisor Luc-Ewen Martin-Fenouillet and his team jumped headfirst into the famous battles of Toulon and Waterloo, delivering warring armies of French and British soldiers, their encampments and tents, the smoke from their muskets and cannons, as well as the iconic moment when the infamous general’s horse gets shredded by a cannonball.
‘Maverick’ co-writer Ehren Kruger will also return to pen the script alongside director Joe Kosinski, with Miles Teller and Glen Powell rumored to reprise their roles as Lt Bradley ‘Rooster’ Bradshaw and Lt. Jake ‘Hangman’ Seresin.
VFX supervisor Simone Coco’s team took on the French general’s famous Battle of Austerlitz, stitching together three different locations, as well as creating thousands of unique, accurately outfitted CG soldiers and horses.
Directed by Jay Walker, the spot tapped studios’ technical expertise using CG, LED volume shoot and traditional VFX to visually realize a young girl’s dream.
