New version of markerless camera tracking and previs/animation solution for real-time visual effects & on-set visualization can now be used with game rendering engine Unity.
Oscar-winning VFX supervisor breaks down his work designing and filming Jon Favreau and Disney’s hit action-adventure feature.
Alex McDowell, creative director at the USC World Building Media Lab and 5D Global Studio, discusses how virtual reality, augmented reality and transmedia will impact the future of entertainment.
Ron Frankel, founder and creative director at Proof Inc., discusses the impact both previs and postvis have on films like 'Guardians of the Galaxy.'
‘Kung Fu Panda 3’ director Jennifer Yuh Nelson joining ‘The Peanuts Movie’ director Steve Martino and ‘Construct’ director Kevin Margo for a panel on the relationship between directors and technology.
New version of markerless camera tracking and previs/animation solution for real-time visual effects & on-set visualization now includes the Unity game engine for rendering.
Max Solomon, an animation supervisor at Framestore, discusses his work as on 'Jupiter Ascending' and 'Gravity.'
Filmakademie graduate and Disney/Pixar Character TD Tanja Krampfert discusses the creation of Joy in ‘Inside Out,’ while DoP Patrick Lin illuminates the special camera set-up designed to parallel the main character’s emotional journey.
Joe Letteri, senior VFX supervisor and studio director at Weta Digital, discusses the use of digital characters and virtual production technology on the three 'Hobbit' films.
Duncan Burbridge, executive producer at The Third Floor, discusses how previs helped director Joss Whedon realize his creative vision on Marvel's 'Avengers: Age of Ultron.'
SolidAnim's on-set virtual tracking and visualization system SolidTrack helps previsualize visual effects for director Alex Proyas’ fantasy film featuring ancient Egyptian deities.
Blur Studios employs NVIDIA’s GPU-powered rendering solutions to provide cinema-quality previsualization shots of the action-packed 90-second opening sequence in Tim Miller’s ‘Deadpool.’
Previs supervisor Brad Alexander and postvis supervisor A.J. Briones take us inside J.J. Abrams’ epic new ‘Star Wars’ adventure.
The Third Floor’s virtual production supervisor discusses high precision coordination for shooting actors, cameras, stunts, rigs and backdrops on Ridley Scott’s award-winning sci-fi adventure.
Essential previs filmmaking tool for professional animated storyboards expands 3D capabilities.
Overall VFX supervisor talks about key visual effects sequences in Sam Mendes’ latest hit in the James Bond film franchise.
IO Entertainment head and previs supervisor Brad Blackbourn describes how director Sam Mendes used previs for action sequence planning and more on the latest James Bond franchise film.
On-set virtual tracking equipment and visualization software from Paris-based developer employed for Robert Zemeckis’ critically-acclaimed film, ‘The Walk.’
Italy’s VIEW Conference 2015 is just around the corner, with a top lineup of industry leaders preparing for a memorable week of presentations and al dente agnolotti.
Previs supervisor Jim Baker walks us through The Third Floor’s key previs and postvis efforts on the latest Marvel feature.
Chris DeFaria, Warner Bros. president of animation, digital production and visual effects, talks about assessing a film's viability, extensive industry use of previs and virtual production, as well as the studio's shock when 'The LEGO Movie' didn't receive an Oscar nomination.
Previs supervisor Todd Constantine talks previsualization of earthquakes, tsunamis and bursting dams on the hit disaster movie ‘San Andreas.’
Tefft Smith II discusses the extensive use of pitchvis, previs, techvis and postvis on Brad Bird’s new fantasy adventure.
Supervisor Gerardo Ramirez discusses key facets of The Third Floor’s previs, postvis and techvis efforts on Marvel’s latest superhero blockbuster.
Helping bring all the mayhem and madness of ‘Mad Max: Fury Road’ to the screen was Iloura’s Sydney studio, led by VFX supervisor Tom Wood. With two major sequences – a toxic sandstorm and evil warlord Immortan Joe’s stronghold, The Citadel – plus hundreds of stunts and vehicle crashes to contend with, Iloura was involved in more than 1,700 VFX shots. Here’s a selection of some of their great work on the film.
