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.
Artists and studios gain broader accessibility to products and tools with Krakatoa and XMesh source code available for Autodesk Maya under Apache 2.0 open source license; artist tools simplify rendering, VFX, and simulation workflows.
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+.
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.
Watch it here - launching live today as part of Epic Games’ ‘Future of Animated Storytelling’ presentation, the animated short is one of the first crafted entirely in the cloud using Unreal Engine – without compositing - by a team of artists collaborating virtually from around the world.
VFX Supervisor Enrik Pavdeja, along with Framestore, BlackGinger, and The Third Floor, deliver a bloodthirsty, rogue, fully CG lion involved in 240 shots, including a number of enormously long 5,000-10,000 frame one-takes, on Baltasar Kormákur’s survival thriller.
Now accessible via Flex pay-as-you-go product use system, the new, flexible version makes the industry standard 3D toolset more affordable and accessible to artists at smaller studios.
Led by VFX Supervisor Tommy Tran, the studio produced massively complex visuals on 1,827 shots in Season 3 of Seth MacFarlane and Hulu’s sci-fi comedy, including bigger and more complex planets, space battles, and an impressive, completely overhauled USS Orville.
Art director Paula Spence and supervising director Jeanette Moreno-King discuss how they re-designed the show’s characters, while moving to a new production studio, to bring more realism and texture to the FXX and Hulu show’s backgrounds, characters, and performances.
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.
Celebrate VTubers and discover their virtual avatars, varied genres, and technical creativity, and learn how to join them during ‘Creator Camp;’ weeklong event includes the first ever ‘VTuber Tournament’ - 30 VTubers compete in a Fall Guys tournament where…” anything can happen!”
VFX supervisor David Vickery talks about combining old-school and brand-new techniques in the service of realism and saurian hijinks on Universal’s ‘Jurassic World Dominion,’ now playing in theaters, available from Universal Home Entertainment on 4K, Blu-ray and Digital, and coming to Peacock September 2.
Director Mark Andrews and producers Paul Fleschner and Adam Maier chronicle their trailblazing journey to create - entirely in Unreal Engine - the 3DCG animated comedy series premiering today on Netflix.
The new tracking tool designed for Virtual Production and in-camera VFX features technology easily integrated into any production workflow; with multiple mount points for tracking stability and optical data, the device is optimized for real-time VFX.
Company shares the first formal look at one of the first shorts rendered entirely in Unreal Engine – without compositing - by a global team of artists all working virtually in the cloud; Epic’s five-day virtual event, running through July 1, features free online presentations and panels showcasing the adoption of Unreal technology by film and television studios of all sizes.
New features for the cloud-based MetaHuman Creator let users create photorealistic digital humans, complete with hair and clothing, in minutes; plugin features support new character rigging, animation, and physics features in UE5.
Leading visual effects studio delivers 217 shots across 11 sequences in the DC thriller’s action-packed third act, including the destruction of seven dams and subsequent tsunami that engulfs Gotham Square Gardens.
Harnessing enhanced virtual production workflows based on real-time rendering, the studio blends live-action and VFX in an epic battle set on the surface of a Google Pixel phone in a live actor’s living room.
Written and executive produced by Charles’ son Craig and grandson Bryan, Apple TV+ and Wildbrain’s new animated special harkens back to the original ‘Peanuts’ comic strips that prompted conversations by adults inspired by the actions of kids.
Photorealistic cat sows trail of destruction in episodes of the network’s hit crime drama; one gruesome scene was completed with a CG human leg and added gory details using Houdini, with final compositing in Nuke.
VFX Supervisor Anders Langlands talks about the iconic visual effects studio’s work on the Warner Bros. blockbuster, from car chases and mysterious lens flares, to why making rain is harder than it looks.
Executive producer Julia Parfitt and director Patrick Osborne talk about how they brought a real-time animated Grog and Scanlan to the Season 1 Finale Watch Party for the hit Prime Video series.
Animators in the $32B 3D & VFX industry are always working; with over 62,000 animation jobs in the US alone and continued growth expected for the foreseeable future, there’s never been a better time to start a career.
With a team led by visual effects supervisor Adrien Saint Girons, the studio delivers just under 250 shots, featuring the Spell Gone Wrong and Doctor Strange/Spider-Man chase sequences, on Marvel’s hit superhero action-adventure film, just nominated for a Best Visual Effects Oscar.
VFX studio Goodbye Kansas’ Jonas Skoog and Goran Milic share their insights on the pipeline, tools, and ongoing development needed to create CG humans that look real and emote believably.
