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‘The Prince of Egypt’: Henry LaBounta reflects on parting the Red Sea
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…
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Compulsory viewing: the Computer Animation Festival at SIGGRAPH Asia Tokyo 2018
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…
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Chatting with ‘First Man’ VFX supe Paul Lambert
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.
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Ten things we learned about Framestore’s CG stuffed animals for ‘Christopher Robin’
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.…
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Gorillaz, in CG
A look behind the scenes at the Gorillaz G-Shock watch episodes, at Cartoon Brew.
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Tech papers: the secret to SIGGRAPH Asia success
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…
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Going back to ‘Pleasantville’: when doing a DI wasn’t so easy
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…
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The miniatures of ‘First Man’
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.
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Inside ILM’s art department
For VFX Voice, members of ILM’s art department ran down how it all works there. They create stunning stuff!
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Recommended viewing from animation pros
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.
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