03 April 2024
VFX Weekly
The Visual Effects Society (VES) has elected its 2019 Board of Directors officers. (SHOOT Online)
MARY POPPINS RETURNS Visual Effects Supervisor Matt Johnson on honoring the original film’s timeless analog qualities (VFX Voice)
Open-source, high-performance render manager based on Sony’s in-house queuing system, Cue 3, is purpose-built for the needs of the visual effects and animation industry. (Animation World Network)
Creating the 8-foot-tall archvillain required the work of two visual effects houses, Digital Domain and Weta Digital, which each took a slightly different approach (The Hollywood Reporter)
The thing about the Millennium Falcon is she’s full of surprises. (Los Angeles Times)
The Under Presents and Traveling While Black were both presented at the festival. (VR Focus)
The AR campaign is designed to further enhance the consumers’ experience by using their phones to look at logos, posters, signs and landmarks to see coupons, messages, videos, etc. (MobileSyrup)
Former Sony Pictures Imageworks executive Shauna Bryan, whose credits include The Meg, Suicide Squad and Thor: The Dark World, has joined U.S. and Australia-based firm Luma Pictures to lead business development as Executive Producer of VFX. (Deadline)
Many of today’s movies are shaped as much by visual effects as by physical design. It’s a development that has driven some production designers to stay involved in a production well beyond the shooting stage — even without pay — so that they can provide input on the effects that form a film’s final look. (Variety)
Maxon software architect, lead developer and designer Per-Anders Edwards is among the individual recipients being honored this year with an Academy of Motion Picture Arts and Sciences Scientific and Technical Achievement Academy Award. (Post Magazine)
The manga movie Alita: Battle Angel has been 20 years in the making, and producer Jon Landau thinks it will finally represent the breakthrough success in Hollywood for a genre which has proved problematic. (SHOOT Online)
VFX Supervisor Marcus Taormina nominated for a VES Award talks about how there were 520 visual effects shots in the final cut of the film. (Awards Daily)
Veteran artist previously earned VES Award and Primetime Emmy nominations for work on Netflix series Lost in Space. (Animation World Network)
As Chief Content Officer, Kenny will work in collaboration with Popowich, as well as Director of Development Travis Williams and Vice President of Original Series and Co-Productions Chantal Ling, to identify and develop original properties as well as secure financing and greenlight productions. (Animation Magazine)
Legend 3D welcomes two multiple award-winning creatives to key positions in its global organization, with the addition of Meetal Gokul as Director of Post Production and Senior Colorist in its Hollywood facility, and Jay Mehta as VFX Supervisor at its Pune, India studio. (Animation Magazine)
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