Visual effects supervisor Chris Browne has big plans for his sci-fi project originally conceived as a feature film and TV series – he created 200 digitally augmented shots with photoreal robots, virtual environments, and swarming drone bots for the short film proof-of-concept.
The cybersecurity company’s in-house creative team and VFX studio Framestore use a not-so-metaphorical ‘Trojan horse’ to deliver a message to millions about the real and pervasive threat of cyberattacks.
Students at the Pearson College school helped deliver more than a dozen shots on the upcoming feature about a retired Irish paramilitary who witnesses an SAS officer’s fatal shooting of his pregnant wife.
Created for TotallyMoney, the advert melds 2D, and 3D animation, capturing a hand-painted feel, making every frame look like an individual painting; the short conveys the client’s customers’ determination to climb towards their goals.
New plan offers lower upfront costs with the same benefits as perpetual licenses; reduced costs provide affordable entry for growing businesses.
VFX Supervisor Dennis Berardi dishes on the show’s signature production of ghouls, critters, an octopus, a blob monster, a six-foot long queen rat, and a lady made out of beauty lotion – 2,000 visual effects shots all totaled - in the horror anthology series now streaming on Netflix.
Studio serves as lead VFX vendor on Eric Garcia’s new nonlinear, eight-part Netflix crime series inspired by the true story of a $70 billion Manhattan bank heist during Hurricane Sandy; challenging effects-heavy shots included creating a swarm of digital bees to camouflage a character’s movements through a super-secure bank vault.
The visual effects studio delivered 1,522 shots on the Showtime vampire/horror series, including fully CG chimps that morphed into vicious vampire chimps.
Plug-in allows easy integration and access to cloud-based resources enabling users to submit renders without leaving the app.
Release aligns with December updates of Nuke 14.0 and Mari 6.0 on software standards, including VFX Reference Platform 2022 and USD 22.05, while making it easier and more efficient for artists to use.
Leading compositing tool gets a major revamp, boasting improved performance and scalability, simple compositing workflows, and flexibility to create new USD-based integrations.
For the company’s 20th anniversary, its founder shares a selection of innovative work his teams have produced, on shows like ‘Wonder Woman,’ ‘1917,’ and ‘The Sandman,’ since opening its doors in 2002.
The popular deep data defocus tool will be integrated into Nuke’s upcoming releases; customers with a current, or recently expired, Bokeh license can get a free one-time extension until December 31, 2023.
The two visual effects veterans join the studio as Senior Producer and Compositing Supervisor, respectively.
Production studio employs an easily scalable cloud-based workflow, using tools like Maya, Cinema 4D, Arnold, Nuke, and Unreal Engine, built around a shared Amazon Web Services storage system on Amazon S3 connecting VFX and finishing artists at various locations.
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.
Studio bolster its VFX capabilities with new Unreal, Animation and CG team hires.
For the Netflix series’ third and final season, the studio produced visual effects on 65 shots across 3 episodes, using Maya, Houdini, Nuke and 3DEqualiser to design and create new threats and looming dangers, including a battle with a mechanical claw-tipped arm.
The suite of production and post-production tools fuses live-action with CG elements to create highly stylized worlds; tech and media exec Greg Mandel joins Board of Advisors as business strategy advisor.
The leading developer of creative software for M&E has a full slate of conference activities and talks planned, including in-booth demos of Modo, Katana, Nuke and Mari, plus meetings with the teams behind Nuke, Foundry Research, Look Development and Lighting, and Flix.
Tim Miller’s animation and VFX studio bridged the gap between live-action and CG using V-Ray's Light Selects and Physical Camera Exposure controls to realize the famed director's aesthetic on his first computer-animated film, part of 'Love, Death + Robots' Volume 3 now streaming on Netflix.
Cloud solution specialists, DeadDrop Labs, helped the studio with custom integration of Amazon Web Services and Pixar Tractor, making for a smooth transition to scalable, cloud-based rendering.
The company’s creative team transformed footage shot in Atlanta into a Manhattan-bound hellscape for the streamer’s four-part miniseries based on the DC comic book series of the same name.
Presentations will showcase creative techniques and technologies including best practices, tips and tricks, and a look at the future of VFX; topics include grading and compositing with NukeX, workflows with Mari, and using Katana in feature animation.
Updates bring the software’s 3D system more in line with DCC standards and provides more consistency between Nuke and Katana for geometry transformations; workflow improvements provided more intuitive artist pipelines.
