Design-driven production company Sarofsky delivered the 3D elements in the main-on-end title sequence in Marvel’s Captain America: Civil War. Under the direction of company principal and executive creative director Erin Sarofsky, together with executive producer Steven Anderson, creative director and designer John Filipkowski, and other Sarofsky artists, the Chicago-based creative team worked directly with Marvel’s Captain America: Civil War VFX supervisor Dan DeLeeuw and VFX producer Jen Underdahl to create a fully composited and rendered two minute MOE title sequence that blends CG-based and photo-real elements.
Post-production finishing for the second season of MTV’s hit show Scream: The TV Series is currently in high gear at Chainsaw in Hollywood. The facility is handling editorial finishing, color grading and deliverables. It is also supplying editing suites and gear used by series editors.
Continuing to add depth and experience to its team in Vancouver, FuseFX has hired VFX supervisor and producer James Tichenor.
Kanye West was honored at last week’s 20th Annual Webbys with the Artist Of The Year award, in recognition of the social media phenomenon’s pioneering use of the internet and his impact on the music landscape. The ceremony’s rules limit the winners’ acceptance speeches to five words, presenting West, who’s known for his lengthy orations, with a challenge. Houses in Motion, the Brooklyn-based animation and production studio, crafted an animation-driven retrospective of the artist’s year, with a video montage that includes abstract design elements, graphics, skewed images, and samplings of the artist’s tweets.
Following on the heels of their 2014 hit, Captain America: The Winter Soldier, directors Anthony and Joe Russo have done it again with the Marvel-Disney franchise blockbuster Captain America: Civil War. From a script written by Christopher Markus and Stephen McFeely, which blends dramatic spectacle with legit emotion and humor, the filmmakers once again turned to cinematographer Trent Opaloch, who shot The Winter Soldier. The Technicolor color finishing team led by senior supervising finishing colorist Steve Scott, worked with Opaloch, the Marvel team (producer Kevin Feige, and executive producer Victoria Alonso), and the Russos to provide final color-grading, digital intermediate services, mastering for a wide array of HDR theatrical deliverables, and HDR home masters.
Veteran visual effects producer Chad Hudson, whose credits include The Walking Dead and Game of Thrones, has joined FuseFX. Based at the company’s Los Angeles facility, Hudson becomes part of a diverse production team that is creating effects for Fox’s Sleepy Hollow and pilots for CBS and Amazon, as well as other upcoming television projects.
Thinkbox Software is providing free licensing hours of Deadline and Krakatoa as well as free hours of The Foundry’s Nuke and Katana, and Chaos Group’s V-Ray for the month of May. Deadline 8, now available, introduces on-demand, per-minute licensing for Thinkbox tools and third-party applications. Users will receive the complimentary time in 10,000-hour increments.
In a project spanning nearly two years, Hula Post provided editorial systems, workflow engineering and technical support to Walt Disney Pictures for the production of The Jungle Book. Hula Post engineers set up and maintained editorial facilities at the studio’s production facility in Playa Vista; at Digital Domain, where motion capture elements were produced; and at Los Angeles Center Studios, where live action elements were captured. Additionally, it supported satellite-editing facilities at Sony Pictures Studios and Skywalker Sound, where sound work was completed.
Autodesk has acquired Solid Angle, developer of Arnold, an advanced, ray-tracing image renderer for high-quality 3D animation and visual effects creation used in film, television and advertising worldwide. Acquisition terms were not disclosed.
Academy Award- and Emmy-nominated animation, VFX and design company Blur Studio has hired Dan Akers as visual effects supervisor. With nearly 15 years of experience in the VFX industry, Akers’ recent photo-realistic work for online shooter Destiny and Kia Motors was recognized with 2015 VES Award nominations, with his efforts for Destiny also taking home Best Visual Effects honors at AICP 2015.