Visual Effects

Thinkbox Software Offers Free On-Demand Licensing in May

Mon, 05/02/2016 - 13:10 -- Nick Dager

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.

Hula Post Supports The Jungle Book

Mon, 04/25/2016 - 15:23 -- Nick Dager

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.

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VFX Supervisor Dan Akers Joins Blur Studio

Thu, 04/07/2016 - 13:06 -- Nick Dager

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.

Pixel Adds Creative Touch to MLK Doc

Thu, 03/24/2016 - 11:04 -- Nick Dager

Final post-production for Justice for MLK: The Hunt for James Earl Ray, a two-hour documentary that premiered recently on the American Heroes Channel, was completed at Pixel Underground, a Sim Group company. The facility handled online, final color grading and deliverables. It also provided graphics services, creating the main title as well as dozens of artfully animated elements that appear throughout the show. Produced by Cream Productions in association with Absinthe Film Entertainment, Justice for MLK centers on the final days of Martin Luther King’s life and the tense, 65-day manhunt that led to the capture of his killer. Directed by Michael DeCarlo, the documentary is composed of archival footage, interviews with people familiar with King, Ray and the police investigation, and historical reenactments.

Running with the Bulls

Wed, 03/23/2016 - 11:52 -- Nick Dager

A new campaign launches the branding partnership between global sports brand Puma and the Red Bull Racing Formula One Team in preparation for the upcoming Formula One 2016 Season. The concept required a herd of stampeding bulls to charge around the two Red Bull Racing drivers Daniel Ricciardo and Daniil Kvyat. They turned to effects artist David Cox.

FuseFX Takes a Turn for the Best

Fri, 03/18/2016 - 10:40 -- Nick Dager

AMC’s critically acclaimed Revolutionary War drama Turn: Washington’s Spies transports viewers back to the cities, villages, plantations and battlefields of colonial America. Ensuring that all those locations, their buildings and geographic features are historically accurate, that the ships, flags and musket shots are correctly represented, is the result of careful research and clever work on the part of the show’s production team and visual effects artists from FuseFX.

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Deadpool: A Complex Post Story

Tue, 03/08/2016 - 13:07 -- Nick Dager

Deadpool is already one of 2016’s biggest box office hits. The darkly comic and graphic take on the superhero movie was finished by colorist Tim Stipan on Baselight at Deluxe’s EFilm in Hollywood. “Working on such a complex, effects-heavy project often requires various external matte sequences in addition to multiple image tracks. Multiply that by the large number of VFX vendors, and it meant we had a lot of different layers and mattes,” said Stipan.

Walking The Walk

Tue, 03/08/2016 - 13:00 -- Nick Dager

The Walk feature film, Atomic Fiction’s digital recreation of 1974 New York City—complete with hot dogs steaming on a vendor cart—earned the praise of critics who proclaimed the movie “a visual spectacle” with effects “so grand it’s easy to forget you’re watching a virtual 100 percent CG-created world.” Less visible but equally important to filmmaker clients is the studio’s behind-the-scenes production artistry. Marc Sadeghi, president of Visual Effects at Atomic Fiction said, “By combining the power of technology, the creativity of passionate artists, and a collaborative approach to working with filmmakers, we’re able to overcome the challenges inherent to VFX production. As a result, we can satisfy both the VFX appetites and production deadlines of our clients.”

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