Co-creators and EPs Justin Marks and Rachel Kondo, along with their production team on FX and Hulu’s 10-episode limited series - based on James Clavell’s famous 1975 novel - always strove for authenticity in their depiction of Japan in 1600, from its ships to the city of Osaka, even the oil lamps and wicks used to light rooms.
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?’
SFX Supervisor Jeremy Hays and VFX Producer Whitney Richman discuss the challenges of conceptualizing and creating scenes involving astral projection, underwater characters that aren’t actually underwater, and the lead character, Cassandra Webb, falling off a bridge during a motor vehicle rescue, on S.J. Clarkson and Sony Pictures’ suspense thriller.
J. A. Bayona’s harrowing 1972 Andean plane crash tale scored 13 statuettes across multiple categories, including ‘Best Film’ and ‘Best Special Effects;’ ‘Best Animation Film’ went to Pablo Berger’s ‘Robot Dreams.’
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.
This winter, the Las Vegas resort will add the interactive SpongeBob SquarePants ride, created by Sally Dark Rides, that combines special effects, animatronics, and vivid integrated projections to fully submerse riders in considerable nautical nonsense.
Annual computer graphics conference and exhibition comes to Sydney, Australia December 12-15; the event’s Computer Animation Festival celebrates the inspiring world of computer generated visuals.
Production Visual Effects Supervisor Frank Petzold talks about using in-camera effects wherever possible, eschewing loud and flashy CG sequences for more precise, realistic action centered around what’s captured on set, in Edward Berger’s harrowing and haunting Oscar-nominated war saga, now in theaters and streaming on Netflix.
Working with DNEG and Distillery VFX, visual effects supervisor Brian Connor delivered almost 700 shots depicting intense aerial combat and a defining set of crash sequences in J.D. Dillard’s epic drama, based on the lives of U.S. Navy officers Jesse Brown and Tom Hudner.
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.
Lawrence Kasdan’s documentary series showcases how a small, hand-picked group of ‘misfit’ filmmakers became the groundbreaking creative studio behind some of Hollywood’s biggest films - now streaming on Disney+.
The streamer also unveils behind-the-scenes images and fresh key art showing the ILM team designing the Millennium Falcon in new Lucasfilm and Imagine Documentaries' series, streaming later this month.
Seasoned ‘Star Wars’ scribe Lawrence Kasdan directs an inside look at the craftspeople who played a pivotal role in cementing the series’ legacy.
The two hit films continue their award-winning ways; ‘Do Not Feed the Pigeons’ wins for Best Short Animation at the Sunday night 2022 EE British Academy Film Awards ceremony.
From ‘2001: A Space Odyssey’ to ‘Close Encounters of the Third Kind’ and ‘Blade Runner,’ the VFX visionary created some of cinema’s most widely influential and iconic imagery, and the ground-breaking processes used to produce them.
‘Encanto,’ ‘Flee,’ ‘Luca,’ and ‘The Mitchells vs The Machines’ get nods in the Animated Film category; ‘Dune,’ ‘Free Guy,’ ‘Ghostbusters: Afterlife,’ ‘The Matrix Resurrections,’ and ‘No Time To Die’ nominated for Special Visual Effects.
Watch a clip of Oscar winners Ben Burtt and Craig Barron sharing insights into the groundbreaking special effects on Humphrey Bogart’s 1950 film, ‘Chain Lightning,’ his last at Warner Bros.
‘The Owl and the Pussycat’ wins for British Short Animation; ‘Mank’ awarded for production design.
‘Onward,’ ‘Soul,’ and ‘Wolfwalkers’ get nods in the Animated Film category; ‘Greyhound,’ ‘The Midnight Sky,’ ‘Mulan,’ ‘The One and Only Ivan,’ and ‘Tenet’ nominated for Special Visual Effects.
New 2021 rules promote diversity in membership and voting; Pixar’s animated feature ‘Soul’ longlisted in five categories including Best Film, Animated Film, Special Visual Effects, Original Score, and Sound.
‘Star Wars’ effects veteran Phil Tippett reveals the use of stop-mo animation for scrapwalkers in ‘The Believer’ episode of the hit Disney+ series.
For Beijing-based Light Chaser Animation, Foundry has played an essential role in the studio’s growing success in producing visually compelling and beautifully designed CG animated feature films.
Third-generation special effects supervisor Jeremy Hays talks about producing realistic snow, rivers and cracking ice on the new film adaptation of Jack London’s famous novel.
‘Grandad was a Romantic’ by Maryam Mohajer wins for British Short Animation; Roger Deakins wins for Cinematography on ‘1917.’
‘A Shaun The Sheep Movie: Farmageddon,’ ‘Frozen 2,’ ‘Klaus’ and ‘Toy Story 4' get nods in Animated Film category; ‘1917,’ ‘Avengers: Endgame,’ ‘The Irishman,’ ‘The Lion King’ and ‘Star Wars: The Rise of Skywalker’ nominated for Special Visual Effects.
