Shirogumi VFX supervisor Kiyoko Shibuya helped deliver 620 shots, including the giant beast crushing the heavy cruiser Takao, all on a shoestring budget, in Takashi Yamazaki’s hit sci-fi thriller, nominated for a best VFX Oscar at this year’s Academy Awards.
ILM, led by Simone Coco and Jeff Sutherland, delivered between 1,100-1,200 shots on the Christopher McQuarrie spy thriller, including a gunfight in an Abu Dhabi desert sandstorm, a Rome car chase, and fight atop a speeding train, and star Tom Cruise’s famed motorbike cliff jump.
The VFX studio tackled numerous large digital assets, creating the planet Hala and its vast city, taking it from brilliance to ruins, with the Sun’s initial luminous implosion and, ultimately, its miraculous rebirth.
The VFX studio animates Disney+ series’ AI-driven character’s sinister transformation from friendly to deranged, delivering more than 125 shots, while also creating Loki’s green energy blasts and a digital extension to represent a blighted, working-class section of Chicago.
The studio contributed 259 shots across multiple sequences, including breathing life into iconic characters Sebastian, Flounder, and Scuttle – staying faithful to their original characters while integrating actual animal behavior.
The 3D camera tracking VFX app joins the Boris FX Suite, which already boasts Sapphire, Continuum, Mocha Pro, Silhouette, Optics and CrumplePop; live SynthEyes demos slated for IBC September 15-18.
Visual Effects Supervisor Simon Jung and Animation Supervisor Dennis Yoo talk clickers, bloaters, giraffes, and fungi, some of the captivating and ghastly visuals they helped produce for HBO’s critically acclaimed and wildly popular series, nominated for 25 Emmys including Outstanding Visual Effects in a Season or Movie.
Production VFX supervisor Mohen Leo and Production VFX producer T.J. Falls picked up where they left off on Gareth Edward’s 2016 ‘Rogue One,’ helping deliver a whopping 3,843 visual effects shots, including the daring oceanic planet Narkina V prison escape, the Eye of Aldhani meteor shower, and the Fondor Haulcraft’s encounters with Fury-class Imperial interceptors, on the inaugural season of Lucasfilm and Disney+’s hit prequel series – nominated for an Outstanding Visual Effects Emmy.
Production VFX supervisor Grady Cofer and Co-Production Animation Supervisor Hal Hickel discuss how the most recent season of Lucasfilm and Disney+’s hit series – nominated for an Outstanding Visual Effects Emmy - took advantage of new digital tools and processes to better plan and capture more realistic acting performances in-camera, as well as animate their integration with CG characters and sequences.
The leading visual effects company, led by VFX Supervisor Chris White, revisits one of the Netflix series most compelling – and fully CG – characters in Season 3’s ‘Marigold’ episode, nominated for an Outstanding Special Visual Effects in a Single Episode Emmy.
Led by VFX Supervisor Stephane Naze, the company’s Montreal studio, alongside its London and Vancouver facilities, created Groot, Cosmo, their severed Celestial head HQ known as Knowhere, and the fight with Adam Warlock on Marvel Studios’ smash sci-fi adventure hit.
The VFX supervisor, born in China before coming to the U.S. at age 9, shares her work overseeing 1100 visual effects shots on the Disney+ series that included the trickster God Monkey King’s transformation from falcon to tiger to fish, various gravity-defying flying characters, digital doubles, and an ambitious waterfall setting for a dangerous cliff jump.
The visual effects studio creates 334 shots for Season 2 of Brian Young and Netflix’s coming-of-age fantasy adventure about teenage fairies learning to master their powers while navigating love, rivalries, and a flock of bug-like Scrapers at their magical boarding school.
The leading visual effects company delivers 328 shots from its Montreal facility, with another 233 from its London facility, including heavy magical element simulations, a swarm of bees transforming into a human, and the wish fish girl, on the Paul Feig fantasy adventure 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.
Studio delivers 50 shots that include CG characters, digital water and explosions, plus set and crowd extensions on Apple TV+’s Emmy Award-winning post-apocalyptic dystopian drama.
Visual effects supervisor Nikos Kalaitzidis discusses the studio’s work helping create incredible lightning effects for Dwayne Johnson’s titular Teth-Adam character, along with other powers, such as the zip effect, and an ‘electrocuted baddie,’ in the Warner Bros. DCEU action-adventure.
In an extensive Q & A, Senior Animation Supervisor Sidney Kombo-Kintombo and VFX Supervisor Chris White talk about water, swimming, beards, and bubbles – all part of their work on Marvel Studios’ ‘Black Panther: Wakanda Forever,’ now in theaters.
In an extensive Q&A, VFX Supervisor Sheldon Stopsack talks about the studio’s multifaceted contributions to the Warner Bros. DCEU action-adventure, starring Dwayne Johnson in the titular role, now screening in theaters and available on Blu-ray + DVD.
Leading visual effects studio's veteran ‘The Mandalorian’ and ‘The Book of Boba Fett’ VFX team delivers 364 shots across the Disney+ Original ‘Star Wars’ series, ranging from the creation of full CG builds for ship landing shots to an epic Kenobi lightsaber battle against the Empire.
The studio produced around 170 VFX shots on the hit Netflix series, including key Episode 6 fiery battles and an Episode 8 character disintegration scene.
In Part 2 of our interview with the Guy Williams and Mark Gee, the visual effects supervisors talk about their equally impressive non-avian creations for the critically acclaimed DCEU spinoff series now streaming on HBO Max.
Sony Pictures Imageworks’ VFX Supervisor Chris Waegner and Animation Director Richard Smith talk about the challenges of working with three Spider-Men, updating a clutch of long-time villains, and ensuring realism in the midst of an action-filled fantasy.
