Here’s how Weta Digital did it for Mortal Engines.
For 3D Artist magazine, I talked to Disney Animation about Ralph Breaks the Internet. And they did a stunning special cover for the issue.
…and it has some features I wrote on virtual production, previs and Superman’s 40th anniversary. Digital edition right here.
I love the new Spider-Man: Into the Spider-Verse. And here’s my coverage at Cartoon Brew. Go and see this film.
SIGGRAPH Asia Tokyo 2018 has just wrapped up, and it was a fantastic week. The attendance was up near 10,000 and you could feel the buzz at the conference centre. Here’s my run-down of 5 of the coolest things I was able to see there. 1. Behind the scenes of Pixar’s Bao If you haven’t…
For Rolling Stone magazine, I wrote a small piece about the future of digital entertainment with holograms and digital humans.
Mark Russell shared with me some great tips for bidding and budgeting in VFX. Check it out at Cartoon Brew.
For VFX Voice, I talked to some of the legends at Pixar about the history of RenderMan, celebrating its 30th anniversary this year. Includes some old-school pics.
This is something I whipped up for Cartoon Brew, based on some of the fantastic virtual production work being done these days.
I got to experience Baobab’s Crow: The Legend at VIEW Conference. Definitely one of the most immersive VR experiences I’ve had. Here’s my take at Cartoon Brew.
These days, Henry LaBounta is Studio Art Director at EA Ghost Games. But before his career in games, LaBounta was at the forefront of effects simulation at Industrial Light & Magic, where he helped generate the tornadoes in Twister. Later he worked on The Prince of Egypt at DreamWorks Animation, in particular, on the parting…
Here at vfxblog we’ve already previewed some of the VFX-related talks and dived into the Technical Papers process for SIGGRAPH Asia Tokyo this year. Now we look at the other conference highlight: the Computer Animation Festival. The ‘CAF’ takes in the Animation and Electronic Theater, and the VR Theater, plus a selection of panels and…
A new story at VFX Voice goes in-depth on First Man, including the significant visual effects by DNEG, as well as the practical side of the shots.
Marc Forster’s Christopher Robin is easily one of the most delightful films of 2018, and also contains some of the finest fully-CG animated characters you’ll see this year. That work was led by Framestore, which had, of course, sharpened its expertise in integrating CG animated ‘stuffed toy’ characters with live action in the Paddington movies….
A look behind the scenes at the Gorillaz G-Shock watch episodes, at Cartoon Brew.
The Technical Papers section of SIGGRAPH Asia 2018 in Tokyo is shaping up, as always, to be a key part of the conference. But how do authors get their tech papers into a SIGGRAPH or SIGGRAPH Asia conference? And what happens once they do? To find out, vfxblog asked Hao Li, who is a co-author…
In 1998, Gary Ross’ Pleasantville became the first major Hollywood feature to go through what’s now known as the digital intermediate, or DI, process. The film needed that process because its characters, stuck in a 1950s black and white existence, would slowly start to escape their repressive world as they begin experiencing colour. Getting there…
For Thrillist, I asked Ian Hunter about the models and miniatures work in First Man. Look out for more of my coverage soon on the film at VFX Voice.
For VFX Voice, members of ILM’s art department ran down how it all works there. They create stunning stuff!
For Cartoon Brew, I asked a bunch of animation pros what they would recommend to readers. The result is some pretty cool material to check out.