Following two years of rapid growth, Hackney-born Wash has announced its move to a brand new central London facility as it looks to improve its offering, and diversify into more long form work and visual effects-heavy pipelines.
HP workstations are the standard across the creative industries in London and beyond. There are some very good reasons for that
Cooke Optics will be revealing their new range of at NAB 2019 in Las Vegas from 8-11 April 2019.
Kevin Baillie, VFX supervisor on Welcome to Marwen, explains how he brought the dolls to life.
The Polar Express and A Christmas Carol paved the way for director Robert Zemeckis’ latest feature, in which life-like dolls bring the story to life.
Mo-Sys and HP team up to take virtual reality from the stationary to full movement.
For the new Fantastic Beasts movie, Technicolor managed a huge and complex pipeline from dailies to deliverables.
When we find ourselves at a noisy Soho eatery with Goldcrest Post senior colourist, Adam Glasman, it’s hard not to feel incredibly lucky to have carved out 30 minutes of his time outside the suite.
Shedding Light on War: cinematographer Michael Seresin BSC on War for the Planet of the Apes
The efficiency of game engines in processing polygons and assets is enabling a live VFX option from feature films to live broadcasters; let the games begin
After 12 years she is still clowning around but this time in digital. We talked with the DoP, colourist and VFX team about how they created the ‘new’ Bridget Jones.
VFX Supervisor ADAM VALDEZ explains how in the latest adaptation of Jungle Book the capture of the single live character worked hand in hand with the groundbreaking VFX.