Tefft Smith II discusses the extensive use of pitchvis, previs, techvis and postvis on Brad Bird’s new fantasy adventure.
Unprecedented innovation and integration across Creative Cloud Desktop and mobile apps; new Adobe Stock service debuts.
First project, ‘Neuro’ for GE, created in Partnership with Kite & Lightning revealed at E3 2015.
Universal’s long-awaited dinosaur feature beats out the May 2012 launch of ‘The Avengers’ with a $208.8 million domestic debut, and becomes the first film to cross $500 million worldwide in a single weekend.
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.
Costing $180 million to produce, Brad Bird’s live action fantasy adventure could see up to $140 million in losses by the time it finishes its global rollout.
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.
Alongside ECD Kaan Atilla and EP Cortney Haile, ArsenalFX founder Mark Leiss launches Santa Monica, CA-based content creation studio specializing in design, branding, animation and visual effects for the commercial and entertainment industries.
Live workshops teach actors, producers, directors and animators the art of emerging motion capture technology using leading markerless mocap developer’s tools.
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.
Los Angeles-based independent filmmaker Pablo Fernández Eyre creates an animated tribute to George Miller’s ‘Mad Max: Fury Road.’
Supervisor Gerardo Ramirez discusses key facets of The Third Floor’s previs, postvis and techvis efforts on Marvel’s latest superhero blockbuster.
Adobe plans to integrate Mixamo’s technology into Photoshop so designers can more easily create, customize, manipulate, rig and animate 3D objects.
ASC president Richard Crudo is re-elected for his sixth term; Owen Roizman, Kees Van Oostrum and Lowell Peterson are re-elected as vice presidents.
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.
Free update with Autodesk 3ds Max 2016 compatibility adds VR rendering capabilities and multiple V-Ray RT GPU enhancements including improved volume rendering, distributed rendering, and global illumination.
Lola VFX supervisor Trent Claus talks about capturing Paul Bettany’s performance as Vision in Marvel’s latest blockbuster movie.
VFX house Digital Domain is honored at the 2015 AICP Awards for Best Visual Effects for its work on the Destiny “Become Legend” commercial.
Immersive “through-the-ages” ad campaign launching the all-new Honda HR-V Crossover includes two new spots, ‘Give and Take’ and ‘Great Thinking Inside.’
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.’
Project continues Disney's recent trend of remaking its animated classics into live-action films, beginning with ‘Maleficent’ and ‘Cinderella,’ and now including ‘Mulan,’ ‘Winnie The Pooh,’ ‘The Jungle Book,’ ‘Beauty and the Beast,’ ‘Dumbo’ and a new movie starring ‘Peter Pan’s Tinker Bell.
Industrial Light & Magic helps Iron Man handle The Incredible Hulk with a new armoured suit in Marvel’s ‘Avengers: Age of Ultron.’
Does George Miller’s latest ‘Mad Max’ film have the same “cyan/orange” look dogging so many recent big action movies?
