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.
Visual effects veteran with film credits including ‘Iron Man 2,’ ‘Mission Impossible: Ghost Protocol,’ ‘Downsizing’ and ‘Pacific Rim’ currently serves on the Executive Committee for the Academy’s VFX Branch.
First glimpse of live-action remake promises a faithful and visually enticing reimagination of beloved animated classic.
Oscar-nominated artist brings nearly three decades of experience to London-based facility.
Former Digital Domain VP to oversee and represent MPC’s VFX Supervisor talent, including Richard Stammers, Erik Nash and Guillaume Rocheron; Julian Levi promoted to General Manager.
Oscar gold: Pixar Animation Studio’s ‘Inside Out’ wins best animated feature and Gabriel Osorio and Pato Escala’s ‘Bear Story’ wins best animated short; ‘Ex Machina’ wins VFX prize.
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.
Lead VFX vendor MPC delivers 425 shots for Ridley Scott’s space epic, including shuttle launch sequences, the storm sequence, and scenes on Mars.
Nominees for Best Animated Feature are ‘Anomalisa,’ ‘Boy and the World,’ ‘Inside Out,’ ‘Shaun the Sheep Movie,’ and ‘When Marnie Was There.’
Annual voting event showcases visual effects for the Academy’s shortlisted films: ‘Ant-Man,’ ‘Avengers: Age of Ultron,’ ‘Ex Machina,’ ‘Jurassic World,’ ‘Mad Max: Fury Road,’ ‘The Martian,’ ‘The Revenant,’ ‘Star Wars: The Force Awakens,’ ‘Tomorrowland’ and ‘The Walk.’
As the lead VFX vendor, the Moving Picture Company delivers 425 shots for Ridley Scott’s space epic, including shuttle launch sequences, storm sequence, and scenes on Mars.
Studio’s work on the film’s Quicksilver “Kitchen” scene also garners BAFTA, VES and AACTA nominations.
The Academy’s annual voting event showcases the year’s top visual effects-driven films.
