Black Ink 0.300 makes new custom brushes easier to modify and create, provides new programming language for complex shader designs.
Led by VFX supervisor Benjamin Walsh, Deluxe-owned VFX house creates a wide range of CG effects for Top Game’s Super Bowl spots, including massive armies and accompanying weapons and horses, and atmospheric elements including fireballs, fog and smoke.
PipelineFX’s industry-leading render management software and new pay-per-minute licensing policy gives the international animation powerhouse an edge in today’s competitive broadcast market.
Reinvention of the National Film Board of Canada’s award-winning documentary has been showcased at IDFA DocLab and the New Frontiers VR Bar at this year’s Sundance Film Festival.
Popular ‘Nerdist-style’ computer graphics art podcast features in-depth, personal discussions with some of the top minds in VFX, VR and design.
Groundbreaking new software tool bringing high-end VFX and post workflows to 360°/VR filmmaking is based on Imagineer’s Academy Award-winning planar tracking algorithm.
The animation director with a passion for visual comedy, character exploration, and nugget-sized storytelling, joins Aardman after working with big brands including Nike and Playstation.
THE THIRD FLOOR founder talks about cutting edge production techniques and technology in a new global frontier.
An American entrepreneur opens China's first high-end mixed reality showroom.
‘The Jungle Book’ named photoreal feature film winner with five awards; ‘Game of Thrones’ episode ‘Battle of the Bastards’ named best photoreal episode with five awards; John Lewis ‘Boxer the Buster’ wins top honors in the commercial field.
Pinnacle Advertising, Fancy Content, and Zoic Studios team up to save a car interior from ruin.
VFX, post-production, and film veteran joins Aardman Nathan Love after serving as senior producer at Click 3X, MPC, and Hey Beautiful Jerk.
From environments spanning the Snowy Plains, the Underwater Garden of Eyes, and the mysterious Hall of Bones, to effects such as massive water simulations, disintegrating magical boats, and digital set extensions, explore the VFX of LAIKA head Travis Knight’s Oscar-nominated directorial debut.
The award-winning CG Supervisor will work in the company’s global film division.
Five Canadian colleges were chosen to receive a financial endowment to support a student studying animation or visual effects.
Maker of OptiTrack motion capture systems to remain a separate business with its own executive team, customers and market initiatives.
Netherlands-based studio tackles one if its biggest in-house projects yet with ‘Creature of Habit,’ spanning design & animation, production, VFX & 3D, music, editorial, color grading and sound design.
Along with a slew of VFX breakdown videos and images, ‘Piper’ supervising technical director Brett Levin details the tools and techniques employed on director Alan Barillaro’s Oscar-nominated CG short.
Actors John Cho and Leslie Mann will host the Academy of Motion Picture Arts and Sciences’ Scientific and Technical Awards Presentation on Saturday, February 11, at the Beverly Wilshire in Beverly Hills.
Mike Chambers re-elected as Board Chair of the visual effects industry’s global professional honorary society.
‘Deadpool’ director Tim Miller to present short film program; Pixar director Pete Docter and producer Jonas Rivera to present animated features program.
ILM chief creative officer and senior visual effects supervisor John Knoll -- nominated for an Oscar alongside VFX supervisor Mohen Leo, animation supervisor Hal Hickel, and special effects supervisor Neil Corbould -- details the challenges of bringing the continuing saga of the Skywalker family to the big screen.
New York-based boutique VFX and design studio provides more than 70 visual effect shots for the Sundance feature debuting on Netflix on March 31.
Learn from the masters at free event to be held on February 9 at the Gnomon School of Visual Effects, Games & Animation.
Sci-fi short film from the award-winning director behind the forthcoming feature, ‘You Get Me,’ subverts the typical alien invasion story.
