VFX house announces promotions; Mark Nazal named director of digital content, and Astrid Eve named global HR manager.
MARZ VFX supervisor Ryan Freer will share the often-invisible VFX on Marvel’s first Disney+ series; three presentations will peek behind the curtain surrounding the year’s first blockbuster VFX-driven tentpole to see monster making up close and personal.
The full-service VFX house’s recent projects include the delivery of multiple shots for VES award-winning episode of ‘The Crown;’ company also delivered 100 shots for the popular series, ‘Pennyworth.’
VFX supervisor John Kilshaw’s NY team produced the color blossom transformation from initial black and white format, as well as various magic effects and photoreal CG characters like a stork and kaleidoscope of butterflies, on the hit Marvel Studios and Disney+ series.
Studio delivers 268 shots as primary vendor on the Netflix drama, helping visualize souls leaving their bodies with innovative 2.5D approach.
VFX house promotes seasoned EP who will help push the active production slate; film and TV projects including ‘The Northman,’ ‘The Great - Season 2, and ‘Becoming Elizabeth.’
Led by VFX supervisor Ralph Maiers, the studio helped ‘energize’ the magical battle between Agnes/Agatha and her coven of witches in the final episode of the hit Disney+ series.
The live-action adaptation of Mark Millar and Frank Quitely’s graphic novel follows the world's first generation of superheroes that must look to their children to continue their legacy and keep mankind safe; series premieres globally on May 7.
In the third and final discussion, VFX supervisors Steve Meyer and Brad Kalinoski share insights into their innovative visual effects work on shows like ‘Criminal Minds’ and ‘CSI: Crime Scene Investigation.’
Leading VFX company continues its expansion efforts with purchase of Australia-based high-end visual effects studio; combined companies will have close to 800 artists in eight locations around the globe.
By using distinctive visual effects as a core series element, almost as a ‘character’ itself, Guillermo del Toro and Netflix’s Emmy Award-winning animated series has garnered an Annie Award nomination for Best FX for TV/Media.
Star-studded virtual ceremony, hosted by barb-slinging Patton Oswalt, included 25 category awards and special honors for VFX supervisor Rob Legato and director Sir Peter Jackson.
VFX supervisors Brigitte Bourque and Marshall Krasser share insights into their innovative visual effects work on shows like ‘Upload’ and ‘9-1-1: Lone Star.’
This year’s set of animated and VFX-driven TV series and video games represents top visual design and production work that rivals feature film visual effects in both quality and quantity.
The MCU’s favorite trickster must work alongside the Time Variance Authority to fix his Tesseract-related, time-altering mistakes; series debuts June 11.
Free resource provides in-depth look into virtual production workflows, new methodologies, remote collaboration, in-camera VFX, animation, and what’s coming next in Unreal Engine 5.
This year’s batch of animated and VFX-driven feature films shows that despite the pandemic, artists around the world continued pushing the boundaries of visual storytelling.
Studio’s business growth enhanced by Australia’s strong COVID-19 response, generous government incentives, and Australia’s PDV offset; creative team to top 225 at Adelaide location.
VFX supervisors Ariel Altman and Josh Miyaji share insights into their innovative visual effects work on shows like ‘Mr. Robot,’ ‘Barry,’ and ‘I Know This Much is True.’
Familiar favorites Nenneke, Philippa Eilhart, Dijkstra, Rience, and Codringher will appear alongside original character Ba’lain and a gender swapped Fenn.
German visual effects studio's new highlight reel showcases their work on funky ‘60s planet, menacing robots, and White Room prison cell from hit HBO horror fantasy series.
Founder Piotr Chomczyk discusses his new visual artist and team cloud workplace that provides high-performance computers for real-time media sharing on animation and VFX projects.
Dana Murray wins for outstanding producer of animated theatrical motion pictures; ‘Queen’s Gambit’ wins in limited series TV category.
25-year industry veteran brings technical and creative skills acquired while working at the forefront of emerging visual effects technology; his hire comes on the heels of continued growth in the media company’s VFX division.
Cortney Haile named VP of business development, Albert Soto named chief engineer, and J.R. Benson senior colorist; new hires will support increased offerings including scripted VFX and on-set supervision.
