Vancouver-based visual effects studio relies on cloud-based creative management tool ftrack to deliver stunning effects on a tight deadline for Syfy’s ‘Continuum’ and TBT’s ‘Falling Skies.’
With an extensive list of credits including ‘Jupiter Ascending,’ ‘The Best of Me,’ ‘X-Men: Days of Future Past,’ ‘Riddick,’ ‘White House Down’ and ‘Underworld Awakening,’ Marc A. Rousseau joins Cinesite’s Montréal Studio as VFX Executive Producer.
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.
Chris DeFaria, Warner Bros. president of animation, digital production and visual effects, talks about assessing a film's viability, extensive industry use of previs and virtual production, as well as the studio's shock when 'The LEGO Movie' didn't receive an Oscar nomination.
The Academy invites 26 new members to join the Short Films and Feature Animation branch; 23 new members are invited to join the Visual Effects branch.
The Academy ups the number of eligible films in the VFX category to 20; Short films qualifying via a theatrical release must now have a theater run in Los Angeles County for at least seven consecutive days with at least one screening per day.
Tim Clark and Karine Lafranchise are selected as trainee animators and will be joining the feature animation team at Cinesite’s Montréal studios to work on ‘Charming.’
Monthly short form series explores experiments with practical and CGI visual effects.
Recognizing excellence in 3D animation, visual effects, visualization and game design, the animago AWARD will be presented on Thursday, October 15 at the animago AWARD & CONFERENCE.
Hollywood-based VFX house Flash Film Works relies on Fusion Studio from Blackmagic Design for compositing work on car chases, helicopter stunts and intricate fight scenes for 20th Century Fox’s ‘Spy.’
VFX supervisor Holger Voss talks landslides, daring escapes and setting up a Montreal studio for Warner Bros. and Village Roadshow's disaster movie.
‘Interstellar’ VFX supervisor Andrew Lockley details how his team used cineSync to help develop the groundbreaking visual effects for numerous Christopher Nolan films.
Blur Studio creates mind-blowing visuals for game trailers for titles including 505 Games’ ‘Tom Clancy's Rainbow Six Siege,’ Ubisoft’s ‘ADR1FT’ and Bethesda Softworks’ ‘Dishonored 2.’
Further fortifying its footprint within France and abroad, French animation studio Mikros plans to hire 400 animators for its Paris, Belgium and Montreal studios.
Tefft Smith II discusses the extensive use of pitchvis, previs, techvis and postvis on Brad Bird’s new fantasy adventure.
Stuttgart, Germany-headquartered CG house expands U.K. team led by Mark Gallie with the appointments of EP Caroline Holton, CD Arren Perfetti and production head Dave Weygang.
As one of the main visual effects vendors on the film, Method Studios delivers 247 complex VFX shots for ‘San Andreas,’ including the entire downtown Los Angeles sequence, in which an earthquake decimates the city.
Unique, annual five-day festival for digital artists running September 15-19 announces a fresh line-up of 31 renowned speakers, regional meet-ups, and THU TV.
Industrial Light & Magic VFX supervisor Eddie Pasquarello takes AWN on a whirlwind tour of the studio’s work on director Brad Bird's live action Disney feature.
Helping bring all the mayhem and madness of ‘Mad Max: Fury Road’ to the screen was Iloura’s Sydney studio, led by VFX supervisor Tom Wood. With two major sequences – a toxic sandstorm and evil warlord Immortan Joe’s stronghold, The Citadel – plus hundreds of stunts and vehicle crashes to contend with, Iloura was involved in more than 1,700 VFX shots. Here’s a selection of some of their great work on the film.
Iloura’s VFX supervisor tackles the effects for George Miller’s iconic post-apocalyptic adrenaline-filled feature, including a toxic sandstorm and evil warlord Immortan Joe’s stronghold, The Citadel.
VFX house Digital Domain is honored at the 2015 AICP Awards for Best Visual Effects for its work on the Destiny “Become Legend” commercial.
Leading DI house colorist Stephen Nakamura employs Blackmagic Design’s DaVinci Resolve for D-Cinema and Dolby Vision color grades for director Brad Bird’s sci-fi adventure ‘Tomorrowland.’
Non-profit organization dedicated to the advancement and development of previs across disciplines including feature film, television, commercials, games, visualization and architecture announces the first of many planned initiatives.
New television ad for Marvel’s ‘Ant-Man’ reveals additional footage, showcasing the film’s humorous edge but still packed with plenty of action.
