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March 31, 2011, 1:27 pm
In the same way that sports was the "killer app" that fueled early interest in HDTV, many sports networks such as ESPN 3D and Sky 3D are betting that live sports will drive the fledgling 3DTV medium. With many sports aficionados among the early adopters of 3DTV, broadcasters are hustling to produce as much live 3DTV sports as possible, and they need stereo 3D production tools that make the job faster, easier, and more cost-effective.
July 20, 2017, 10:08 am
You probably haven't heard of a special effects company called MOVA, but you've seen its Contour facial-capture technology in films like Guardians of the Galaxy and Beauty and the Beast. It could also have a big impact your entertainment choices. The company behind the tech, Rearden LLC, has filed an injunction against Walt Disney Co. to block those two films, along with Avengers: Age of Ultron, from sales or distribution.
July 20, 2017, 5:47 am
Encore VFX – Visual effects breakdown for “The Flash” episode 313. VFX by Deluxe’s Encore and supervised by Armen Kevorkian.
July 20, 2017, 5:47 am
Encore VFX – Visual effects breakdown for “Supergirl” episode 221. VFX by Deluxe’s Encore and supervised by Armen Kevorkian.
July 20, 2017, 5:47 am
Introducing V-RAYforC4D 3.4. Check out its quality images with no settings, the brand new improved materials and shaders, the new built-in special effects, the accurate lights and improved GI and the blazing fast rendering speed.
July 20, 2017, 5:47 am
The Blender Foundation has released a test build of Blender 2.79: a near-final public version of the next update to the open-source 3D modelling and animation software.
July 19, 2017, 4:06 pm
One of the toughest things about covering visual effects can be getting great VFX imagery to display with a story. There’s often a lengthy approvals process, and sometimes film and TV distributors just want to keep certain things under wraps. That can make it hard to produce interesting stories; in visual effects, behind the scenes images and videos tell so much of the process.
July 19, 2017, 4:06 pm
I started using DaVinci Resolve in 2005. It was a $300,000 system, the hardware rack was the size of a doorway and it took a Resolve engineer two days to install. In 2006 I met with Mike Seymour and John Montgomery, who said they were thinking of opening an online university. They asked me if I would like to be their professor of color. I didn’t really have any ideas of the specifics, but being keen to try different things I jumped at the chance.
July 19, 2017, 9:48 am
The best car chase scenes, like bridges in classic songs, move viewers from one part of a film to another. Rather than being merely vehicles to fill otherwise unassigned screen time, they can tell audiences a lot about the inner workings of the movie you're making.
July 19, 2017, 9:48 am
Erik-Jan de Boer began his career in the VFX at MPC in 1989. He then worked at Rushes before joining Rhythm & Hues in 1996 where he worked more than 16 years as an animation supervisor. In 2013 he won an Oscar for Best Achievement in Visual Effects for LIFE OF PI. He then joined Method Studios.
July 19, 2017, 9:48 am
The first time Scott Stokdyk worked for Luc Besson back in 1995, the French auteur hired him to work on his then-groundbreaking sci-fi flick The Fifth Element. "At that time I was just this computer artist sitting at a work station for fourteen hours a day in a little dark cubicle excited to be working in the world of film,” says Scott. Since then, visual effects have made gargantuan advances, and so has Scott. He won an Oscar for his work on Spider-Man 2 and made munchkins for Oz The Great and Powerful.
Sebastián Sepúlveda joins Gordon to discuss the editing of the film Jackie. They explore how structuring a real ...
Stuart joins Gordon to discuss A Series of Unfortunate Events for Netflix and what the difference is between working for Broa ...
In this episode of The Cutting Room, we explain just where we have been for the past four months. We'll begin regularly ...
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