Paul Debevec, chief visual officer at the USC Institute for Creative Technologies, discusses some of his lab's recent research work, potential legal concerns over digital doubles and what excites him most about virtual reality.
New global campaign from weareflink features a powerful mix of organic and effects-driven work demonstrating the latest technology developed by Reebok for its ZPump Fusion 2.0 sneakers.
Zoic Vancouver delivers 150 visual effects shots for action sequel directed by legendary fight choreographer Yuen Wo-Ping and starring Donnie Yen and Michelle Yeoh.
Ken Perlin, professor of computer science at the NYU Media Research Lab, discusses where virtual reality may be used in years to come and what that could mean for our society.
Psyop's Kymber Lim and Marco Spier discuss their work on the AirBnB commerical 'Wall and Chain' as well as their risky move into feature film VFX.
Colorful animated short combining 2D and 3D techniques relies on Google Cloud Platform and its Compute Engine solution to help the concept truly take flight.
Fabric Engine 2.1 available now with a raft of presets, samples and UI improvements aimed at making the powerful development framework even easier to use.
Free update adds new variance-based adaptive sampler and final frame GPU rendering.
ILM animation supervisor discusses the wide range of complicated shots that kept his team scrambling for two years on J.J. Abrams’ blockbuster sci-fi action film.
A combination of live-action footage and CGI from Grammy-winning directors Alex Topaller and Dan Shapiro, ‘1976’ is an exploration in the visualization of sound.
Independent visual effects studio co-founder wins an Academy Award for Alex Garland’s ‘Ex-Machina’ alongside Double Negative VFX team members Andrew Whitehurst, Paul Norris and Mark Ardington.
Innovative computer graphics lighting software adds new Area Lights feature, allowing users to interactively create and control both a HDRI Map and a set of Area Lights.
London-based VFX house wins the Academy Award for best visual effects for its work on Alex Garland’s ‘Ex Machina’; DNeg previously recognized for Christopher Nolan’s ‘Inception’ and ‘Interstellar.’
AWN editor-in-chief Dan Sarto reports on the backstage antics at the 88th Academy Awards, talking to Oscar winners Gabriel Osorio and Pato Escala, ‘Inside Out’s Pete Docter and Jonas Rivera, and ‘Ex Machina’ VFX supervisor Andrew Whitehurst.
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.
Autodesk and Shotgun Software play a supporting role in the creation of some of the year’s most lauded films and TV series.
Inaugural Los Angeles showcase event to provide exclusive first look at the hottest Japanese IP to industry decision makers and power brokers looking for new branded franchises.
Blend morphs to create stylized 3D characters with just a few clicks.
Distinguished member of the Cogswell College board of directors receives his second Academy Award for his groundbreaking design work of the PDI/DreamWorks Animation Media Review System.
Blur Studios employs NVIDIA’s GPU-powered rendering solutions to provide cinema-quality previsualization shots of the action-packed 90-second opening sequence in Tim Miller’s ‘Deadpool.’
Visual, puzzle-filled point-and-click sci-fi adventure with stylized cartoon designs is nominated for ‘Best Upcoming Game’ at the 12th edition of the International Mobile Gaming Awards.
Former Digital Domain chief creative officer to oversee Industrial Light & Magic’s Vancouver facility, supervising effects work and providing creative oversight across all of the studio’s projects.
Advanced, mobile-first, video technologies to be developed into custom-built solutions for the company’s brand and agency clients.
The National Film Board of Canada loses a true pioneer of cinema who led breakthroughs across virtually every genre of film in a career spanning more than six decades.
Under the leadership of VFX supervisor Seth Maury and producer Felix Crawshaw, MPC delivers 900 VFX shots for director Craig Gillespie’s remarkable true story of the greatest small boat rescue in Coast Guard history.
