The best commercials are more art projects, right? I think most of what Spike Jonze makes is exactly that, which is why his latest perfume spot for KENZO is so watchable. And it also happens to have a bunch of seamless vfx from Digital Domain, which I wrote about at Inverse.
Check out the new issue #98 of 3D Artist – I wrote two features on ZBrush and on MPC’s digital assets team.
Here’s a preview of the nominees for VFX Emmys this year, which I wrote about on Inverse.
That’s just some of the work Imageworks had to tackle for Suicide Squad, which I looked into for One Perfect Shot.
For SideFX, I wrote about Disney Animation’s use of Houdini for Zootopia – everything from hair to water fountains. The film is great, but the detail is sometimes what makes it so re-watchable.
UPDATE: Russell Earl from ILM is now attending VIEW, to break down his studio’s huge vfx work in Captain America: Civil War (remember that airport sequence?). And the directors of Dreamworks Animation’s Trolls, Mike Mitchell and Walt Dohrn, will both be there too.
Last week I wrote about Turin, Italy. The city has had a big effect on me ever since attending VIEW Conference there last year. And so did the conference, itself. There aren’t many places you can find out the latest in visual effects, animation and computer graphics AND actually interact with some of the biggest names in those industries.
But at VIEW, you can. Continue reading When you want to know, ‘How was it made?’