On the heels of the release of Season Three, Sebastien Bergeron, Founder and VFX Supervisor at Folks VFX, offers 12 facts about Syfy series,12 Monkeys. We were brought on board last season, for Season Two of 12 Monkeys. They wanted a change in the visual effects department, and I had a previous relationship with one of the associate producers, Keri Young. The kind of pro-active collaboration they were looking for was perfect for Folks and the fact that the series revolves around time travel –what science fiction is all about in my mind –meant that the show was a great fit any way we looked at it.
How They Did It: Marvel Studios’ ACES Workflow for Guardians of the Galaxy Vol. 2
How did Marvel Studios ensure that the amazing, eye-popping visuals created by Guardians of the Galaxy Vol. 2 director James Gunn, cinematographer Henry Braham, and VFX supervisor Christopher Townsend all ended up on screen as the filmmakers intended? Marvel Studios used ACES to manage the film’s color pipeline from dailies through to VFX, DI and archiving.
Weta Digital claim victory on “War for the Planet of the Apes”. Weta Digital has been at the cutting edge of visual effects design for nearly a quarter-century, during which time they produced some of the film industry’s most iconic visuals: the epic battles in The Lord of the Rings movies, for example, or the physics-defying fight scenes in various X-Men movies. And as for character modeling, well, they’ve done it all: from Gollum to Smaug, mutants to vampires, and King Kong to Neytiri. For their achievements, they have been awarded six Visual Effects Academy Awards and six BAFTAs, among numerous other accolades.
Emma Watson is an amazing actress. After all, just look at her performance in her latest blockbuster Beauty and the Beast. But you’ll be even more impressed when you see what she had to work with. The movie is a mix of live action and animation, with Beast being played by Dan Stevens in an interesting suit…
“From one scene file, they can light 10, 20, 100 shots. We’ve seen a tremendous increase in our productivity.” How Katana helps SPIN VFX deliver hundreds of shots and work on 10 shows simultaneously.
It goes without saying that the CG on display is excellent, but bear in mind that this isn’t a run-down of the biggest or best visual effects projects of the year: it’s a run-down of the best visual effects breakdowns. Editing, presentation, and the quality of the making-of material on display all count for a lot here.
How FuseFX brought serious super power to the invulnerable, “Luke Cage”. Software used : Autodesk 3ds Max
What happens when a lifelong Marvel fanboy and Sr. VFX Supe at FuseFX gets tagged to work on Marvel’s latest superhero series, Luke Cage? He punches out enough super power to make bones break, buildings blow sky high – then viewer demand (at least speculatively), makes Netflix servers implode.
On the heels of the recent Luke Cage debut – and that now infamous two-hour Netflix outage – Greg Anderson gets on the phone from New York to effectively demonstrate how thoughtful planning, passion, and the right balance of VFX, puts true, super power, behind any project.
LOUIS MORIN ON THE REALITIES OF ‘ARRIVAL’ interview on CG Society
For freelancing Canadian Production VFX Supe Louis Morin, “Arrival” feels a bit like coming full circle. Cerebral, thought-provoking, not to mention visually striking, it nods to the classic that inspired his career choice: Kubrick’s, “2001: A Space Odyssey.” Telling the story of a military-recruited linguist tasked to translate alien communications, Arrival had Morin leading a small legion of local VFX studios under Denis Villeneuve’s direction and was shot entirely in his home province of Quebec. Hailed as one of the best films of the year, Morin discusses the realities of making “Arrival” – the creative approaches and committed teams, the gut feelings and happy accidents, and of course, those understated, almost elegant photo-real effects. Software Used: Autodesk Maya, Autodesk Flame, Shotgun, Arnold Renderer
Louis Morin on the realities of “Arrival” interview with Autodesk
Fabian Nowak is an FX Lead/Senior FX TD at MPC whose work can be seen on films such as Passengers, Jungle Book and Guardians of the Galaxy to name a few. He was recently nominated to the VES Awards 2017 for “Outstanding Effects Simulations in a Photoreal Feature” for The Jungle Book and has some valuable insight to share. Check out what he had to say about his experience working as a lead at the esteemed studio, as well as a few tricks of the trade for those in our audience who are carving a similar path.
Exclusive Interview with Marvel Studios’ VFX Supervisor, Jake Morrison
Exclusive Interview with Laika’s VFX Supervisor Steven Emerson
- Real-time playback of image sequences and movies
- Support for industry standard file formats including Cineon, DPX, OpenEXR, and QuickTime
- Command line utilities for batch processing
- Cross platform support for Linux, Apple OS X, and Microsoft Windows
- A DAY IN THE LIFE OF A VFX SUPERVISOR, WITH GLENN MELENHORST
- Mies van der Rohe Farnsworth House by Alessandro Prodan
V-Ray | NUKE unifies the pipeline between NUKE artists and 3D artists for unprecedented workflow improvements at all stages of production, while providing access to V-Ray’s advanced ray tracing capabilities.
Andre McGrail, when The Foundry asked me to create a sting for their showreel using MODO and NUKE, I knew it was going to be a fun project. The brief left me with loads of creative freedom: take an existing lightbulb asset with The Foundry’s logo as the filament, refine it, and create an interesting animation. Creating a sizzling showreel sting – link
Pulldownit is a brand new dynamics solver which allows for the creation of fractures as well as massive rigid bodies simulations. By using its technology digital artists are able to simulate fast and easily the collapse of buildings, cracking surfaces or fracturing any kind of brittle material.
Freeing Artists from Technology: Autodesk Entertainment Creation Suite 2014
Key Insights & Updates in the Entertainment Creation Suite
Projection-mapping on moving surfaces
Opel Ampera-e – Maybugs – VFX breakdown
Student Andreas Feix used NUKE to help him create a six-minute stereoscopic short in just one year. His efforts won him a Visual Effects Society Award, a place in the Electronic Theatre, and helped him secure a job at one of London’s top studios. Head of Education Nicki Morris has the story.
Game of Thrones: The Frozen Lake (HBO)
‘Game of Thrones’ Visual Effects – Inside ‘Battle of the Bastards’
The Best CGI Movies In 2016
The Mill BLACKBIRD
HBO’s “The Newsroom” – Intro Sequence
The Visual Effects Of Iron Man[Full Documentary]
Sense of Presence: The Future of Virtual Reality
Autodesk Maya Special Features by Duncan Brinsmead – Part 1
Autodesk Maya Special Features by Duncan Brinsmead – Part 2
These ARE the Droids You Are Looking For… wireframe
Spoil Boy (test render)
Alias|Wavefront – The Making of Maya Fluid Effects
Exclusive Interview with Dennis Muren, ILM Special Effects master talks about his creative journey and multi-award winning work on movies like Star Wars, Terminator 2, and Jurassic Park
Why CG Sucks (Except It Doesn’t)
Kung Fury VFX Breakdown – “Great balls of fire”
Kung Fury VFX Breakdown – “Miniature Madness”
DAWN OF THE..STUFF. FULL LENGTH TRAILER
The Hobbit: The Desolation of Smaug – Bringing Smaug to life
Top 10 Landmark CGI Movie Effects
3ds Max 2015 extension 1 – Working with Alembic
The History and Science of the Slit Scan Effect used in Stanley Kubrick’s 2001: A Space Odyssey
The WETA Effect, or, Why Special Effects Peaked in the 90’s. – StoryBrain
Pixels: Taj Mahal sequence – VFX breakdowns
Steven Dupuy FX Show Reel 2015
VFX Before and After Star Wars The Force Awakens PART 1
VFX Before and After Star Wars The Force Awakens PART 2
VFX Before and After Star Wars The Force Awakens PART 3
VFX Before and After Star Wars The Force Awakens PART 4
Star Wars: The Force Awakens – Comic-Con 2015 Reel
Ouirich BOUNTHAVY – Reel 2015
[VFX Breakdown] Coldplay – Adventure Of A Lifetime
JURASSIC WORLD BREAKDOWN REEL