Montréal branches include Framestore, DNEG, Pixomondo, Sony ImageWorks, MPC (Technicolor), Mikros Animation (Technicolor), Digital Domain, Mathematic Studio, Crafty Apes, Folks VFX (Fuse Group), Outpost VFX and Scanline VFX. Toronto facilities include DNEG, Tippett Studio and Ghost VFX, among others. at more or less the same time that [Vancouver-based] The Embassy did some stunning work for Marvel’s first n and MPC created some solid work for for director Neill Blomkamp, and All the Light We Cannot See Fantastic Beasts: The Secrets of Dumbledore . Clément also emphasizes the advantage of Canad ..read more

In terms of inclusivity within the industry, Speight explains that it is an area that can always be improved, but the industry is heading in the right direction. “There is a lot more to be done to achieve a more diverse workplace through targeted recruiting and outreach to individuals and groups that wouldn’t necessarily have considered VFX as an option open to them due to its previously atypical demographic. For me, flexibility has led to inclusivity as a Mum, and it’s been great to be able to carry on with my career progression and have a family. It’s crucial for me to have a level of flexib ..read more

The matte painting step represents around 10% to 20% of the entire work we actually produce on a show. The bulk of the work is now done using 3D packages. “Environment/Generalist” would be a more correct name to define what we do. The tools evolve quickly, and the current AI breakthrough will likely bring new tools to our toolbox soon. It is already happening with software like Photoshop and Nuke, which have some AI-driven tools. The real-time engines are also being incorporated into the visual effects industry as a solution to render final pixel. It is something we keep a close eye on, and ar ..read more

Over the 10 episodes, 2,900 shots were created by SSVFX, Important Looking Pirates, Goodbye Kansas Studios, Refuge VFX, Barnstorm VFX, Pixelloid Studios and Render Imagination, while Melody Mead joined the project as a Visual Effects Associate Producer, allowing Cliett to focus more on supervision side of the visual effects work. “At the beginning of Episode 105, Toranaga is arriving with his 100,000-person army, which was 99% digital, as we rise up and move past him,” Cliett remarks. “The Japanese have a way of moving and walking, so we did do a number of motion capture shoots with Japanese s ..read more

Searit appreciated the collaborative spirit that made the stop-motion short possible. “I’m approving things at Tippett and going back to Pixar to approve all of the CG shots multiple times a week. We had a lot of people who were big fans of ‘Self’ and helped us while they were on other shows or even on vacation or working on the weekend because they were so passionate. I’m grateful that Jim Morris [President of Pixar] let me have this opportunity to make a stop-motion film, which has never been done before at Pixar.” What was made available to her in high school was the ability to take communi ..read more

There is a core mandate no matter the project for Kullback. “If we are able to help tell the story visually in areas where you can’t photograph something, then that’s our dimension. We’re never creating eye candy for the sake of eye candy. We work hard to have everything that we do fit into the greater whole and to do it in a seamless and attractive way. And, most importantly, in a way that communicates and moves the story forward and realizes the vision of the filmmakers.” by novelist/series writer Liu Cixin, where an alien race living on an environmentally unstable planet caught between a tr ..read more

“Mocap has a bright future in a variety of markets,” OptiTrack’s Lazzaro says. “This includes but is not limited to movies, video games, medical applications, robotics, measurement and VR. Mocap techniques are also becoming more commonplace with V-Tubers and other prosumer applications ..read more

(Image courtesy of Gene Page and AMC ..read more

Watch a brief video on how Cinesite created a wide range of visual effects for Season 4 of , from photoreal animals to snowy Alaskan vistas. Click here: which features a cast of Jodie Foster, Kali Reis, Fiona Shaw, Finn Bennett, Isabella star LaBlanc, Christopher Eccleston and John Hawkes. Taking over the roles of showrunner and director was Issa López, who brought on Barney Curnow as Production VFX Supervisor to oversee the visual effects work, with one of the major contributors being Cinesite, which handled 140 shots spanning five of the six episodes that consisted of the series-opening cari ..read more

The remote workflow has evolved steadily on several fronts since early 2020. Rob Hifle, CEO and Creative Director at Lux Aetena, notes the deep globalization of the workforce occurring in VFX. “Connectivity is continually improving, leading to more global collaboration as well as hybrid working, leveraging talent and expertise from different regions of the world. This will lead to wider representation of backgrounds and experiences across the industry, with the unique and valuable insights that brings.” published by MovieLabs a reality sooner than its stated time frame. Its first principle ‘Al ..read more