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.”
Screenings of Imagine Dragons: Smoke + Mirrors Live music concert will be enhanced with Philips LightVibes. An initial three cinemas will deploy the technology for immersive cinema with more than 790 additional cinemas offering the title via distribution, broadening access to the concert for many more fans around the world. Tyrone Walker-Hepburn, owner of the Genesis independent cinema in London, which will show the UK screening said, “As an independent cinema, we’re all about differentiating ourselves. So being able to offer interesting, premium content like the Imagine Dragons concert using Philips LightVibes really sets us apart. It helps us to attract new audiences and revenue streams, which are key to our growth plans. People describe us as a maverick cinema and ventures like this cement that reputation."
Rodeo FX completed close to 230 VFX shots for Deadpool, Tim Miller’s R-rated depiction of the Marvel Comics anti-superhero. The studio, led by VFX supervisor Wayne Brinton, worked on complex sequences that required fire and embers, grotesque skin alterations, and set extensions. Rodeo FX brought its unique skills to this collaborative VFX effort, ensuring that the finished product was much more than the sum of its parts.
Hocus Focus has been described as one of the industry's most creative and dynamic boutique post houses. Attracting international and local high-profile clientele, it is an inspiring example of how a small organization can punch above its weight, win business and make money. Equipped with the latest SGO Mistika technology and creative expertise, the company offers competitive services and facilities for every stage of the production process delivering stunning results across commercials, film and television drama and documentaries.
Rodeo FX has won a Visual Effects Society Award for its work on season five of Game of Thrones. The award for Outstanding Created Environment in an Episode honored the studio’s creation of the city of Volantis. Rodeo FX received the award last night at the Beverly Hilton Hotel in Los Angeles and can add it to the VES Award it won last year for its work on Birdman.
Character FX artists from MastersFX have created the featured creepy doll Brahms, the title character starring in Lakeshore Entertainment and STX Entertainment’s horror film, The Boy. For The Boy, which opened January 22, MastersFX’s Vancouver Studio created the title character – a four-foot tall doll that seems to rule the household of a remote manor. In the film, a young American woman, Greta, (Lauren Cohan of AMC’s The Walking Dead), takes a job as a live-in nanny in rural England. She comes to find out that the child she was hired to care for is not an actual eight-year-old boy, but instead, a life-sized porcelain doll named Brahms.
Every winter visual effects practitioners around the world compile best-of reels showcasing impressive feats of animation, compositing and VFX in hopes of a nomination for the industry's coveted VES Award. The Visual Effects Society goes to great lengths to ensure that hundreds of entries are qualified and vetted as part of a submission process with seemingly countless moving parts. This process, run by an awards committee made up of VFX professionals around the world, is connected and managed via Shotgun, the scalable software platform for production tracking, review and asset management.
Aspiring visual effects artists will have a unique opportunity to have their show reels critiqued by industry experts in an open Battle of the Reels session held as part of next month’s digital technology festival in Melbourne, PauseFest
The young adults on the autism spectrum who worked on visual effects for Alvin and the Chipmunks: The Road Chip, now in theatres, could have easily been pigeonholed into jobs that were either rote technical jobs or routine jobs, like stocking shelves at a grocery store. Instead, they went on to develop visual effects skills at Exceptional Minds vocational school – and surprised an industry that is known for its creativity: Hollywood.
Since 1992, Cutting Edge has built a string of studios that employs over 150 artists and reaches from Brisbane to Sydney. Like most professional shops they can do it all: films (Predestination, The Age of Adaline); commercials and TV series, including Powers, PlayStation Network’s first scripted show that’s based on Marvel’s beloved graphic novel series. What they couldn’t do was run all render requests off a single dispatcher, and the minutes kept adding up.