Next adventure in the Anthology series of ‘Star Wars’ films to focus on how young Han Solo became the smuggler, thief, and scoundrel whom Luke Skywalker and Obi-Wan Kenobi first encountered in the cantina at Mos Eisley.
The newest addition to Humble’s growing Los Angeles office, Lords most recently served as managing director and executive producer at Morgan Spurlock’s commercial production banner, Warpaint.
Montreal-based visual effects studio combines practical elements with CG to create a realistic look for Brad Bird’s ‘Tomorrowland,’ including digital matte painting, bluescreen compositing, scene enhancements, CG effects and simulation.
Umberger amplifies live-action storytelling with dynamic effects to create a uniquely energetic visual extension of the music.
RenderMan integration to become part of the Fabric Engine ecosystem.
One-click installation enables quick and simple launch of cloud-based render farms on Azure.
Universal's ‘Jurassic World’ holds off Pixar’s ‘Inside Out’ for the third weekend in a row; Paramount's ‘Terminator Genisys’ sees third place debut with $28.7 million from 3,758 locations.
MPC VFX Supervisor Sheldon Stopsack examines the ins and outs of digitally recreating an iconic action hero for Paramount’s ‘Terminator’ franchise reboot.
SIGGRAPH announces the complete lineup for this year’s Production Sessions program for its 42nd annual conference, set for August 9-13 at the Los Angeles Convention Center.
600-student educational institution offering a unique curriculum fusing digital art, engineering and entrepreneurship, will relocate to a new site at 191 Baypointe Parkway in San Jose, CA.
ILM VFX supervisor Ben Snow discusses the enormity, complexity and challenges of the work his team wrestled with on Marvel’s latest superhero adventure.
Cospective and Shotgun join forces to offer VFX, animation and post studios a faster way of working with built-in Shotgun Review portal built directly into cineSync.
Award-winning VFX house Framestore adopts IKinema Action for Autodesk MotionBuilder.
New alliance gives the two VFX houses a combined staff of over 525 artists worldwide, with capacity for 675 at their studios in London, Vancouver and Montréal.
Led by VFX Supervisor Seth Maury and VFX Producer Laura Schultz, MPC Vancouver completed 250 shots for Shawn Levy’s ‘Night at the Museum: Secret of the Tomb.’
New subscription licensing plan offers fully supported version of Qube! render farm management software for $15/month for commercial use and $10.50/month for educational use.
Lightweight inertial capture suits allow production company MRC to lay down Ted’s performance live on set.
In this four-part interview from FMX 2015, Christopher Townsend, the overall VFX Supervisor on ‘Avengers: Age of Ultron,’ provides a detailed overview of the key components of the Marvel Studios tentpole.
Australian animation and visual effects studio completes more than 1,000 shots for Seth MacFarlane’s raunchy sequel, ‘Ted 2.’
In this two-part interview from FMX 2015, Digital Domain founder and former CEO Scott Ross discusses the major issues affecting today’s visual effects industry, including flawed economic models, lack of a trade association, studio wage collusion, and government subsidies.
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.
Universal's ‘Jurassic World’ holds off Pixar’s ‘Inside Out’ for the second weekend in a row; Seth MacFarlane R-rated comedy sequel ‘Ted 2’ underwhelms with $33 million debut.
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.
