January 30, 2018, 1:55 pm
I’m fortunate to work in action and with stunts, behind the camera. The stunt community is comprised of all kinds of talent — drivers, motorcycle riders, gymnasts, fighters, parkour, Cirque du Soleil acrobats and much more. They are the best of the best! I’ve been even more fortunate to train and work with the best stunt coordinators, innovators, riggers and performers in Hollywood.
(New York, NY--July 30, 2020) The Audio Engineering Society, continuing its growing series of virtual events, has set dates for a two-day virtual symposium, “Applications in Machine Learning in Audio,” being presented online, September 28 – 29.
Adobe has previewed some of the 3D graphics projects in development at Adobe Research, the company’s R&D division, from a semi-automatic 3D modelling system to a new real-time physically based renderer.
If you’ve been following along with our retro RenderMan series – where we’ve been featuring previously published RenderMan materials – you’ll know that we recently dived into Pixar’s work behind Ratatouille. Now we’re jumping to Andrew Stanton’s Finding Nemo from 2003.
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.
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.
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