Podcast EP 251: Ole Tillmann - Creating the StopMo for ‘Harold Halibut’
The German game studio art director discusses his indie video game and its unique style, combining stop-motion animation with 3D scanning and CG compositing.
The German game studio art director discusses his indie video game and its unique style, combining stop-motion animation with 3D scanning and CG compositing.
Christopher Nolan’s 7-time Oscar-winning biopic invites audiences to share the ‘father of the nuclear bomb’s insight and vision through extraordinary images of exploding stars, spinning atoms, and esoteric phenomena that depict his co-existence between earthly and cosmic realms and begs the question: ‘Is he blessed or cursed?’
The BAFTA-winning studio captures director Gordon von Steiner’s vision, contributing VFX including the creation of a mysterious liquid acting as a portal to an alternate reality.
The global visual effects studio partnered with Dharma Productions and DOP Manush Nandan to deliver over 1,300 shots, including set extensions, composites and motion graphics on numerous shots of phones, TVs, and iPad screens, and a CG car in a frantic chase sequence, on Director Karan Johar’s dramatic love story.
The animation and VFX studio taps ILM and NVIX alum Jamie Wood as Head of Compositing, also names Peter Seager as Head of CG.
Along with U.S. rep Psyop, the London-based studio collaborated on the short that welcomes VIP players and hosts arriving at the MGM Grand in Las Vegas, ready for a supreme eSports event.
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 visual effects studio delivered 170+ shots for Netflix’s adventure series based on Eiichiro Oda’s popular manga, creating an array of CG naval and pirate ships, adding water and wind to fill the sails and set extensions to seamlessly integrate with the live-action.
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.
VFX Supervisor Dann Tarmy breaks down his team’s extensive use of water sims, including how they tackled the huge, new challenge of replacing water in plates where the actor was shot in the water, on Netflix’s biographical sports drama of marathon swimmer Diana Nyad’s attempts to swim from Cuba to Florida.
For Simon Hughes and his Union VFX team, Yorgos Langthimos’ dark comedy, a stunningly designed visual maelstrom, required something completely different from a typical VFX project, including odd, surgically created hybrid animals using as much actual footage as possible, integration of plates shot with 3 different film stocks, 11 enormous wrap-around LED screens, 50s style painted backdrops, and some really crazy colored skies.
Christopher Lennertz’s 3DCG heartfelt short about a grandfather’s journey to understand his grandson’s message of love and pride stars 2023 Tony Award winner Alex Newell, the first-ever non-binary actor to win a Tony, and multi-Grammy Award winner Philip Lawrence, with ‘Nimona’s ND Stevenson serving as executive producer.
Filmmaker Tal Kantor’s first solo short film uses live-action and hand-drawn animation to tackle the heavy and complex subject of a Holocaust survivor addressing a classroom full of students, sharing a letter he wrote to the pig who saved his life, and how reality, memory, and imagination blend together in one young schoolgirl’s reaction.
For Production VFX Supervisor David Van Dyke, Season 2 of Taika Waititi’s hit Max series saw fewer visual effects shots but more efficient virtual production that included use of a library of panoramic background location and sky shots as well as a re-configured LED Volume, known as the ‘J.’
‘League of Legends: A Triumphant Fusion of the Automotive, Esports, and Cinematic Spheres’ ground-breaking cinematic design features a futuristic Seoul built in CG, with Riot Games’ fantastical world and characters introducing Mercedes-Benz EQS SUV to e-sport and game enthusiast audiences.
Leading creative studio delivers 720 shots for Universal’s comedy adventure, starring Jamie Foxx and Will Ferrel, about an abandoned dog who forms a gang of misfit ‘strays’ dogs; CG magic used to create a fully digital eagle and replace dogs’ muzzles and heads.
Production VFX supervisor Andrew Jackson gets quite ‘particular’ discussing the visual effects in Christopher Nolan’s hit biopic about J. Robert Oppenheimer, his life and work leading The Manhattan Project’s development of the world’s first nuclear bomb.
The committee has revised Rules and Procedures in some categories and announced name changes in others; submissions close on November 30; timing of the 22nd Annual VES Awards Presentation is TBD.
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.
The VFX studio contributed 1,800 shots for Netflix India’s ‘Rana Naidu’ series, based on the popular American Showtime drama series; work included action clean-ups, greenscreen sequences, and CG elements such as the creation of a realistic snake that appears during a drug-induced hallucination.
‘Foundry Learn and Education’ meetups and presentations at the conference include techniques in compositing from Unity Wētā Tools, Boxel Studios, and Action VFX and lighting and 3D techniques from Foundry product experts.
The VFX studio created detailed graphics and compositing for three of the Netflix sci-fi anthology’s latest episodes: ‘Loch Henry,’ ‘Demon 79,’ and ‘Mazey Day.’
A Stark Production, WildBrain, and Infinite Studios’ popular 3DCG animated series scores new international distribution in the U.S., Canada, Ireland, Norway and France.
Created by U.K.-based director/animator Karl Poyzer the fully animated CG music video found its timing with the track from the ‘Time Proof’ album.
Watch the breakdown real showcasing how the visual effects studio delivered 500 shots on the Paramount+ series, based on the novel ‘The Blue’ by Lucy Clarke, creating a foreboding seascape for the fleeing friends who find themselves in dangerous waters with seemingly ‘no escape.’