Why does conventional wisdom demand that a film with digital characters has to be captured digitally? Pokémon Detective Pikachu blows that theory out of the water
The SoCal trade show is once again upon us. Here’s our show preview
Overall VFX Supervisor Richard Stammers and MPC VFX Supervisor Patrick Ledda oversaw MPC’s teams, made up of more than 1200 artists and production crew, to deliver 1150 shots for “Dumbo”, over the course of two and a half years.
The new toolset uses machine learning analysis algorithms to isolate and modify common objects in moving footage—essentially automatically isolating objects in an image sequence. This has huge ramifications for accelerating VFX and compositing.
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.