World-building lab and creative studio’s new facility features a 30-foot-wide by 10-foot-high LED wall built with AOTO 2.3mm pixel pitch panels and Brompton SX40 Tessera processors.
Working from just a single day on-stage with an LED wall, the studio’s virtual production harnessed Unreal Engine to create an expansive world for the battle between good and evil in a style reminiscent of iconic tales from the film and gaming realm.
For Production VFX Supervisor David Van Dyke, Season 2 of Taika Waititi’s hit Max series saw fewer visual effects shots but more efficient virtual production that included use of a library of panoramic background location and sky shots as well as a re-configured LED Volume, known as the ‘J.’
The comprehensive guide to techniques and best practices, gleaned from 82 experts in VR, AR, MR, and XR technology and edited by VFX professionals Susan Zwerman VES and Jeffrey A. Okun VES, is now available for pre-order.
The solution lets creatives animate real-time characters and gesture-triggered effects without markers, wearable suits, and long calibration setups.
Free virtual presentation explores how Vū’s virtual production environment, coupled with NVIDIA RTX™ A6000 professional GPUs, optimizes workflows, pushing the boundaries of creative possibilities.
This free presentation on December 8 will explore how Vū’s virtual production environment, coupled with NVIDIA RTX™ A6000 professional GPUs, is optimizing real-time workflows in ICVFX and pushing the boundaries of the possible in virtual production.
Studio delivers previs, techvis, postvis and final shots on director Paul Feig’s new film, based on Soman Chainani’s fantasy hexalogy, about two young girls who find themselves at the titular school, which raises the heroes and villains of tomorrow.
This free virtual presentation will explore how Vū’s virtual production environment, coupled with NVIDIA RTX™ A6000 professional GPUs, is optimizing workflows and pushing the boundaries of the possible in virtual production.
In partnership with NantStudios, the company will expand its Culver City-based 60,000 sqft creative hub to include new LED stage and real-time production services, set to open in 2023.
Production VFX supervisor and cat enthusiast Jake Morrison talks lighting breakthroughs, VR magic, how to differentiate your shadow creatures, and how to make a dumpling god – all in a day’s work on Marvel Studios’ fourth outing in the Norse god franchise, now playing in theaters.
A fireside chat with ‘Love, Death + Robots’ creator Tim Miller and talks with Wētā Digital / Unity, Animal Logic, Framestore and other top studios about the latest in cloud-enabled content workflows and products highlight Amazon Web Services’ conference plans this coming August 8-11.
Premium model kits help VFX studio quickly create new futuristic sci-fi environments for IPs such as ‘Star Trek: Discovery’ and ‘Halo;’ easily customizable assets work with Unreal, Maya, VRay, and Arnold.
New release of the company’s free open source plugin easily integrates with latest game engine version to allow direct, real-time content generation changes for LED volumes and physical displays.
Global VFX studio adds previsualization services to its pre-production offerings following push into virtual production and launch of LED stages; ex-Framestore exec Alex Webster takes the reigns with veteran previs supervisor Matt Perrin heading the team.
DNEG CEO Namit Malhotra weighs in on what he calls a ‘landmark agreement’ that will fuel the progression and application of new production tools, technology, and workflows in areas such as movies, TV, games, metaverses, VR, and theme park rides.
The award-winning studio announces UK operations will launch this month; former Framestore managing director will be joined in London by CEO Jonny Slow to directly support company’s VP services expansion in Europe.
VFX house and Canadian TV/Film equipment company have already begun building new virtual production stages in Vancouver and Toronto, with more set for 2022; combined capital commitment exceeds $30 million.
