Alkemy X has hired Rebecca Manning as compositing supervisor for its visual effects division. Manning brings 16 years of experience and more than 40 major feature film and television credits, including Ghostbusters, The Jungle Book, X-Men: Days of Future Past and Avatar. Manning will be based out of Alkemy X’s New York studio and will lead its compositing team on projects including the television series The Marvelous Mrs. Maisel, Fear of the Walking Dead, Mr. Mercedes and Blindspot.
Two visual effects-heavy commercial spots for Disney highlighting the latest Star Wars toys and merchandise benefited from play to the firing of children’s imagination: Choose Your Path focuses on The Last Jedi merchandise, featuring three children playing in an attic bedroom; a boy puts down a Kylo Ren toy, which then comes to life to fight Lego starships, while two of the children duck as a ship speeds past them on the red salt flats of Crait – which then seamlessly turn back into the bedroom with a classic Star Wars wipe. Galaxy Of Adventures features the original Star Wars trilogy and Solo: A Star Wars Story, with more children playing in an attic room, interacting with the toys and merchandise in a series of tableaux reminiscent of scenes from the films.
Post house DigitalFilm Tree CEO Ramy Katrib congratulated CBS and producers Christopher Molnar and Erik Whitmyre on the 10th season of NCIS: Los Angeles. Katrib said that in nearly 250 episodes DFT has averaged 250-400 effects per show. He thanked producers on NCIS: Los Angeles for giving DFT their trust and allowing them to achieve several technology firsts
Rising Sun Pictures, working in tandem with Weta Digital, the lead visual effects studio, created critical shots for two key sequences in the film, including a furious battle between soldiers from Earth and fearsome cyborg warriors known as Berserkers.
PowerHouse VFX, the New York-based boutique visual effects studio, rounded out its first year in business by serving as the sole visual effects vendor on M. Night Shyamalan’s Glass. PowerHouse completed approximately 300 shots ranging from Hero CG character animation work, environmental set extensions including buildings and cars, to bringing The Beast to life in many more scenes than they had done previously in Split.
To give the film First Man a strong sense of authenticity, director Damien Chazelle approached NASA to see if there was any archive footage from the Apollo era. The answer was they did but the footage was all in an obsolete format.
The Oscar-qualifying film Ian has been released in an unprecedented joint effort from all major children’s Networks in Latin America: Disney, Discovery Kids, Nickelodeon, Cartoon Network, Boomerang, YouTube Kids and Pakapaka in Latin America and YouTube Worldwide. This emotional film is based on the true story of a boy called Ian. The film was created by Emmy nominee Gastón Gorali, produced by Oscar winner and two-time Emmy winner Juan José Campanella and directed by Abel Goldfarb. This important film aims to help children to understand disability and for the message of inclusion to reach every home.
Studio Enterprise has announced a partnership with Lightcraft Technology to provide students access to industry leading virtual production equipment. As a vertically integrated content company using education and training as a platform to impact the media and entertainment industry, Studio Enterprise’s partnership with Lightcraft Technology will entail equipment provision, collaborative training programs and master classes on how to shoot TV and movie productions using their real-time VFX platform Halide FX.
In a tour de force effort, boutique visual effects studio Mod teamed with director Dave Meyers for Sicko Mode, the trippy, new music video from artist Travis Scott, featuring Drake.
Burbank-based visual effects studio VFX Legion has signed lead matte painter Marc Adamson, head of simulation and dynamics Eric Ebling, and lead lighter Bryan Shepperd to its team. The artists bring a mix of skill-sets to the company, which specializes in augmenting footage for feature films and episodic television shows with photorealistic environments and CG imagery that would be too expensive and time-consuming to shoot live.