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July 30, 2020, 6:30 pm
David Sewell began his career in visual effects with INDEPENDENCE DAY. He then worked in various studios such as Cinesite, The Senate and DNEG. He has worked on many shows including WORLD WAR Z, JOHN CARTER, IN THE HEART OF THE SEA and CHERNOBYL.
July 29, 2020, 1:02 pm
When I bought the first edition of the VES Handbook of Visual Effects, which was released in 2010, it was for a pretty simple reason: nothing else out there had done the job of collecting a whole bunch of practical VFX information in one place. What’s more, a wide range of effects practitioners – those actually working in the field – were contributors.
July 28, 2020, 1:16 pm
When Foundry introduced Smart Vectors in Nuke in 2016, it was as if the company had brought a brand new kind of magic to its compositing software. Smart Vectors gave artists the ability to track images onto complex moving surfaces, doing so by generating motion vectors to push or warp an input image sequence across a range of frames.
July 27, 2020, 1:07 pm
The Gnomon Workshop has released Natural Environment Creation Techniques, a new workshop on creating large-scale environments for visual effects projects in Clarisse iFX, Houdini and Terragen.
July 27, 2020, 1:07 pm
With so many of us are now working remotely, there are plenty of new ways to think about how VFX production can occur. You might already be familiar, for example, with Conductor Technologies and its cloud rendering solutions.
July 24, 2020, 1:33 pm
Foundry’s Nuke Indie is the most recent addition to the Nuke product line and targets solo artists looking for an affordable version of Nuke Studio. Nuke Indie combines the node-based compositing toolset of NukeX with the conform, editorial and review capabilities in Nuke Studio, making it a useful tool for artists wanting to create high-quality visual effects at an accessible price of $499 per year. Continue reading → July 21, 2020 The post Foundry’s Nuke Indie targets solo artists ...
July 23, 2020, 5:06 pm
In 2018, Sara Bennett explained the work of Milk Visual Effects on ADRIFT. She comes back today to tell us about her work as Overall VFX Supervisor on the Netflix movie, THE OLD GUARD...
July 23, 2020, 1:24 pm
Weta Digital, Streamliner and Avalon Studios have launched a new LED-stage virtual production service, based in Wellington, New Zealand. The service brings together live stage expertise and expert screen production capability to offer a new production methodology. Recent growth in real-time visual effects capabilities, along with the health and safety benefits of working in New Zealand, prompted the three leading companies to put together a ready-to-use package for productions of all sizes.
July 22, 2020, 1:27 pm
Anyone familiar with the visual effects (VFX) and animation industries is well-aware that compute power is an essential part of the digital artistic process. Historically, studios had to fork over a serious chunk of change to purchase the machines needed to create, render and store content. The associated costs of this sizable investment made it difficult for studios to get started, and also forced them to make decisions about hardware without knowing what kind of projects it would be used for (and manage on-going maintenance costs).
Gordon Sits down with Arielle Kilker and David Nordstrom, the Supervising Editors of Netflix's hit documentary series Ch ...
Gordon sits down with Sam Ejnes, Re-Recording Mixer, and Pete Nichols, SFX Editor, who helped craft the sound for Mythic Ques ...
Kyle Gilman discusses the editing of Unbreakable Kimmy Schmidt: Kimmy Vs. The Reverend. This film is a "Pick your own ad ...
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