SIGGRAPH Asia 2025
The 18th ACM SIGGRAPH Conference and Exhibition on Computer Graphics and Interactive Techniques in Asia will be held at the Hong Kong Convention and Exhibition Centre December 15-18, 2025.
The 18th ACM SIGGRAPH Conference and Exhibition on Computer Graphics and Interactive Techniques in Asia will be held at the Hong Kong Convention and Exhibition Centre December 15-18, 2025.
By integrating the Wonder Studio cloud-based 3D animation and VFX technology into its production pipeline, the creative studio took advantage of new AI and machine-learning-based tools to create 134 creature shots in 6 weeks for the CW’s ‘Superman & Lois.’
At this year's Autodesk Univerisity, with the help of Mikros Animation, Digital Fish, and Wonder Studio, the tech giant demonstrated a slew of program feature updates and improvements across its product lineup, all designed to increase creative productivity and lower barriers for great storytelling.
Tech giant showcased new features that boost cloud-enabled workflows focusing on empowering teams and artists to work more efficiently; also teased, new AI capabilities coming to Maya and Flame following company’s acquisition of Wonder Dynamics.
The annual computer graphics conference and exhibition comes to Tokyo, Japan December 3 – 6; will once again the Electronic Theater and Animation Theater will celebrate the best in computer animation.
The co-founder discusses the loss of his business partner, Jan Rogowski, and the studio’s transition from theme park films to feature films centered around an interesting creative niche: animated cats.
The annual conference concludes its latest edition, which ran December 12-15 in Sydney; 5,690 attendees from more than 40 countries gathered, including technical and creatives in research, science, art, animation, gaming, interactivity, education, and emerging technologies.
A gathering place for technical and creatives in research, science, art, animation, gaming, interactivity, education, and emerging technologies, the annual conference and exhibition on computer graphics and interactive techniques comes to Sidney, Australia, December 12-15.
The report shows growth in demand for digital content and tools for its creation, especially in emerging markets.
Teams led by Casey Pyke and Ryan McCoy produced previs – and some postvis – on key scenes involving the Ballroom Dance, an Octopus chase, a Garbage Truck chase, and the big third act dreams chase, on Francis Lawrence’s adaptation of Winsor McCay’s famous comic strip, now streaming on Netflix.
The leading VFX studio delivers plane crashes, house fires, and a cave with 500-year-old gold treasure, in the latest season of Netflix’s action-adventure mystery teen drama about two warring clans in North Carolina’s famous barrier islands.
The visual effects studio's team, led by VFX supervisor João Sita and animation supervisor Fernando Herrera, delivered 200 shots that featured a bed that walks and floats, an animated stuffie named Pig, and a massive flying Canadian goose, on the fantasy adventure now streaming on Netflix.
The VFX supervisor shares his studio’s fun, old-school visual effects work on Elizabeth Banks’ horror comedy based on the true story of a black bear, sometimes known as Pablo Escobear, who fatally ingested 75 pounds of cocaine dropped by smugglers in the Tennessee wilderness in 1985.
Leading visual effects studio delivers 420 shots, including a massive, sinister 3D snake, on Florian Sigl’s feature film adaptation of Wolfgang Mozart’s 232-year-old opera, which hits U.S. theaters today, March 10, courtesy of Shout! Factory.
With an exclusive ‘Wishing Star Battle’ breakdown reel to help illustrate, the visual effects supervisor takes us behind the digital curtain, sharing lookdev mandates, design directives, and production realities on how our titular feline hero, as well as the Wolf, Perrito and other characters came to life, on the Oscar-nominated 3DCG animated feature.
Featuring 6 hours of curated training material covering VFX filmmaking, Compositing, Modeling, and After Effects Animation, the VFX Sampler is a superb introduction to the global education program’s comprehensive, degreed, and accredited visual effects instruction.
Key updates for Maxon One line expand Forger capabilities with modeling toolset, including subdivision surfaces and symmetry; performance upgrades in Red Giant Trapcode’s improve particle simulation creation in Adobe After Effects.
Producer Mark Swift talks about the development of DreamWorks Animation’s blockbuster adventure-comedy now in theaters, and why the long-awaited swashbuckling feline’s return is his favorite of all the films he’s worked on.
Joel Crawford, director of DreamWorks Animation’s latest adventure-comedy, talks about Kurosawa, Sergio Leone, and the making of his new film about the famous whiskered adventurer’s coming to grips with mortality, a brilliant, instant classic, now in theaters.
For Production Designer Nate Wragg, the daredevil feline star and supporting characters of DreamWorks Animation’s new 3DCG comedy adventure, launching today in theaters, sport more exciting, painterly looks that draw heavily from their illustrated origins.
In an extensive Q & A, Senior Animation Supervisor Sidney Kombo-Kintombo and Senior VFX Supervisor Guy Williams talk about their gargantuan contributions to Marvel Studios’ 'She-Hulk: Attorney at Law,' streaming exclusively on Disney+.
New features and workflow improvements across the company’s product line include Cinema 4D’s Pyro for the creation of fire, smoke, and explosions, and an integrated Redshift Camera and Radial Symmetry for modeling; new features for Forger, VFX, and Trapcode were also announced.
The Annual Conference takes place December 6-9 in Daegu, South Korea – with COVID travel restrictions lifted, the event promises the in-person return of a diverse group of respected technical and creative people from all over the world; don’t miss SACAF 2022, celebrating the vibrant and inspiring world of computer animation.
Featuring Vega the cow, the studio’s 60-second animated ‘Food Healers’ began with simple drawings, then used Maya and Houdini to create a fun, colorful animated short promoting themes of ‘climate catastrophe’ and ‘food poverty’ without trivializing the issues.