The art of digital color
As part of our ‘Art of’ series we present our latest article. Color management and color workflows have evolved over many years. In this article we will trace from Cineon to the scene referred linear OpenEXR format.
Behind the scenes with the Siggraph CAF winners
We take a look at two of the winners from this year’s SIGGRAPH Computer Animation Festival – Moonbot Studio’s ‘The Fantastic Flying Books of Mr. Morris Lessmore’ and ‘Paths of Hate’.
Nine selected for Sci-Tech Oscar Consideration
The Scientific and Technical Awards Committee of the Academy of Motion Picture Arts and Sciences announced today that nine scientific and technical achievements have been selected for further awards consideration.
ILM adds texture to Cowboys & Aliens
We talk to ILM vfx supe Roger Guyett and texture supervisor Martin Murphy about taming the alien wild west in the summer blockbuster Cowboys & Aliens.
Day 4: Siggraph and Out
Our SIGGRAPH 2011 coverage continues with a look at day four of the conference.
NVIDIA GPU Panel Bonus Audio Recording Available
On Monday at SIGGRAPH, Mike Seymour moderated a panel hosted by NVIDIA with leading CTOs and R&D experts. We’re happy to be able to provide an audio recording of that session for those who couldn’t make it to Vancouver.
Day 3 Siggraph 2011
Day 3 of the Siggraph Show in Vancouver and the trade show opened, joining the papers, tech talks, presentations and general geeking out that is Siggraph 2011. Today included detailed talks from Pixar, news on Alembic, OpenColorIO and much more.
Captain America: super soldier effects
We take a look at several studios’ visual effects work on Captain America: The First Avenger.
Framestore’s heavens and horcruxes
Part 3 of our Potter Week Series: Framestore artists discuss their water sims and heavenly VFX for Harry Potter and the Deathly Hallows: Part 2. Includes a great behind the scenes clip.
Tippett’s treasure trove of effects
POTTER WEEK: Tippett Studio visual effects supervisor Matt Jacobs takes us through his studio’s work on the treasure vault sequence in Harry Potter and the Deathly Hallows: Part 2.
MAXON announces C4D R13
Maxon has announced CINEMA 4D Release 13, the next version of the 3D motion graphics, visual effects, painting, and rendering software application. Scheduled to ship in September, the release includes all new character tools, stereographic capabilities, streamlined multi-artist collaboration and physical rendering. More from SIGGRAPH next week, but click through for new feature highlights.
Rango’s ‘Holodeck’ – a look at ILM’s virtual set
Gore Verbinski’s Rango was recently released on Blu-ray and DVD, so Mike Seymour talked to the guys at ILM to see the virtual set work on the film first-hand.
DNeg’s Gringott’s Dragon and Digi Hogwarts
As part of Potter week at fxguide we speak to Double Negative VFX supe David Vickery and executive producer Dominic Sidoli to discuss their great work for Harry Potter and the Deathly Hallows: Part 2.
Technicolor buys LaserPacific; sells NY assets
More changes in the film post-production world, with Technicolor announcing it is purchasing LA-based LaserPacific, but also selling its New York post assets.
Rising Sun’s Green Lantern hi-jinks
We talk to VFX supe Dennis Jones about Rising Sun Pictures’ work on the dogfight sequence in Green Lantern.
Dark of the Moon: ILM’s magic, in 3D
Industrial Light & Magic visual effects supervisor Scott Farrar and digital production supervisor Nigel Sumner discuss key scenes from Transformers: Dark of the Moon, including Bumblebee catching Sam and the Chicago battle, and working in stereo.
Case study: how to make a Captain America wimp
Director Joe Johnston rejected notions of having a separate actor play the wimpy Steve Rogers in Captain America, as we discovered when we spoke to Edson Williams, visual effects supervisor for Lola VFX.
Zookeeper: An animal get together
Imageworks visual effects supervisor Pete Travers delves into the challenging world of working with real animals and creating CG ones for Zookeeper. Includes a making of clip.
How ILM destroyed Chicago
Check out this video from our friends at The Daily in which ‘Transformers: Dark of the Moon’ ILM vfx supe Scott Farrar and digital production supervisor Nigel Sumner explore the destruction of Chicago.
SIGGRAPH GPU Power Panel
At SIGGRAPH 2011, on Monday 8 August at 1:45pm to 3:00pm, fxguide’s own Mike Seymour is moderating a panel hosted by NVIDIA with leading CTOs and R&D experts from some of the world’s greatest facilities. We speak to Dominick Spina, Sr. Product Manager of NVIDIA, about the great panel from WETA, DNeg, Blue Sky, ILM and SPI.
film RIP one step closer
Variety is reporting that in the USA lab giants Technicolor and Deluxe have reached subcontracting agreements that move them toward an end to their century-old competition in 35mm release printing. ” Deluxe will take over 35mm release printing for the major studios in the U.S. and Canada beginning this week. Technicolor will exit the 35mm […]
Making Green Lantern – bonus material
fxinsider members can watch two making of clips of Sony Pictures Imageworks’ effects from Green Lantern.
Foundry releases NUKE 6.3
The Foundry have released an update to their flagship NUKE and NUKE X products today, which are available free of charge for customers under subscription. The big features of the release include a brand new 3D particle system as well as new planar tracker, but there have been an number of other improvements.
Rhythm & Hues breaks down Popper’s Penguins
Rhythm & Hues details its vfx for Mr Popper’s Penguins in this making of video.
Peter Wolf – leading the way for deaf filmmakers
Mike meets deaf filmmaker Peter Wolf at the Cine Gear Expo in LA.
VFX supe Dan Glass on The Tree of Life
We catch up with Tree of Life visual effects supervisor Dan Glass to dissect the different realms of the film’s ‘history of the universe’ montage piece.
63rd Primetime Emmy Award Nominees
Nominations were announced this morning for the 63rd Primetime Emmy Awards.
Digital Domain shapes Dark of the Moon
We talk to Digital Domain visual effects supervisor Matthew Butler about his team’s 350 shots for Transformers: Dark of the Moon.