All articles tagged with #vfx
The creators of 'Smiling Friends' have launched Zam Studios in Los Angeles, focusing on high-quality animation, VFX, and production services, including work on the show's third season which features diverse animation techniques.
Visual effects house DNEG has acquired the exclusive license to Ziva from Unity, integrating the Ziva toolset into their technology stack to enhance digital character and creature work for film, TV, gaming, and immersive experiences. This move aligns with DNEG's strategy of investing in technology and supports their launch of DNEG IXP, enabling the creation of feature film-quality digital characters and creatures in gaming and immersive environments. The acquisition also brings a significant proportion of the Ziva team onboard, further strengthening DNEG's position in the industry.
Godzilla Minus One won the Academy Award for Best Visual Effects, marking the first win for the franchise after 70 years. The film's success highlights the importance of a director's strong artistic vision and a distinctive approach to CG effects, challenging Hollywood's denigration of visual effects artistry. Director Takashi Yamazaki's hands-on involvement and appreciation for VFX as integral components of the film contributed to the movie's stunning visual effects, emphasizing the need for purposeful planning and careful execution of digital effects in filmmaking.
Godzilla Minus One, the latest installment in the Godzilla franchise, made history by winning the Oscar for best Visual Effects at the 2024 Academy Awards, marking the franchise's first nomination and win in its nearly 70-year history. Directed by Takashi Yamazaki, the film's success at the box office has sparked discussions about a potential sequel, as Yamazaki explores opportunities to work in the West following the movie's monumental success.
A new video released by Toho provides a behind-the-scenes look at the impressive VFX of Godzilla Minus One, showcasing the intricate work behind the movie's Oscar-nominated visual effects, including the creation of water sequences, city recreations, and more with a smaller team than a typical Marvel movie. The video offers insight into the filmmaking process, highlighting the innovative techniques used to bring the film to life, while also emphasizing the movie's captivating visual effects beyond just Godzilla himself.
"Godzilla Minus One," made on a $15 million budget with 35 VFX artists, has made Oscars history as the first Godzilla film to land an Oscar nomination. Director Takashi Yamazaki and his team discussed the challenges and innovations behind the film's visual effects, including the emphasis on water scenes and the involvement of the first woman of color to be nominated for the visual effects Oscar, Kiyoko Shibuya. Despite not having a phase one campaign, the film has garnered attention in the Oscar race for visual effects.
The long-awaited film adaptation of the Broadway musical "Wicked" is set to premiere in November 2024, but the trailer has raised concerns about the use of visual effects and lighting, particularly in relation to the Star Wars Universe. The trailer's flat and desaturated colors, attributed to extensive visual effects, have sparked worries about a growing trend in movies, including Star Wars, where scenes are either overly dark or bright but dull. Director Jon M. Chu's efforts to create a lifelike world for "Wicked" have not fully addressed the issue, prompting concerns about the future of VFX-reliant blockbusters.
VFX artists working on the 'Avatar' film series have voted to unionize with the International Alliance of Theatrical Stage Employees (IATSE) with overwhelming 75% support, marking the first unionization of 'vendor-side' VFX artists in the United States. The move follows successful efforts across the industry, signaling a new era in VFX where workers' contributions and value are recognized, and they can win the same rights and protections as their union co-workers. The unionization aims to secure more equitable compensation, benefits, and sustainable work conditions for VFX artists.
Disney has lost a copyright infringement case over the use of VFX technology in the film Beauty and the Beast. A jury awarded VFX company Rearden approximately $600,000 in damages, with $350,000 meant to claw back profits attributed to the use of the technology. Rearden had sought over $100 million in damages, claiming that the film's success was due to their VFX work. The case revolved around whether Disney should be held liable for the alleged infringement by its partner company, DD3. The verdict suggests that the jury did not credit a significant portion of the film's box office earnings to the VFX work performed by Rearden's technology.
Disney is facing a trial over allegations of improperly using MOVA Contour Reality Capture technology in movies such as Beauty and the Beast, Guardians of the Galaxy, and multiple Avengers installments. The lawsuit revolves around the ownership and licensures of MOVA, with Disney being sued for vicarious liability. The trial will determine whether Disney should be held responsible for DD3's alleged infringement of MOVA. The outcome of the trial may impact a portion of Disney's profits for Beauty and could potentially lead to another trial involving Avengers: Infinity War and Avengers: Endgame.
Disney is facing a trial over the alleged improper use of MOVA Contour Reality Capture technology in its films, including "Beauty and the Beast." The lawsuit claims that DD3, the company Disney partnered with, did not own the technology, leading to confusion around ownership and licensures. The trial will determine whether Disney should be held vicariously liable for DD3's alleged infringement. The outcome could impact a portion of Disney's profits for "Beauty and the Beast" and potentially lead to another trial involving "Avengers: Infinity War" and "Avengers: Endgame."
Visual effects workers at Walt Disney Pictures have filed for an election with the National Labor Relations Board to unionize under the International Alliance of Theatrical Stage Employees (IATSE). This comes as Disney-owned Marvel VFX workers are also organizing for their own union election. The unionization efforts aim to secure fair compensation, healthcare, retirement benefits, and the same rights and protections as their unionized coworkers. If the majority of workers vote to unionize, Disney will be called upon to begin negotiations for a union contract.
Christopher Nolan's film "Oppenheimer" contains approximately 200 visual effects shots, despite Nolan's previous statement that there were no computer-generated images in the film. The VFX supervisor, Andrew Jackson, clarified that visual effects encompass a range of techniques, including computer-generated imagery and practical effects created on set. One notable VFX moment in the film is the re-creation of the Trinity Test, achieved through layering filmed elements using digital compositing. The team used a combination of practical explosions and filmed elements to create a loose artistic interpretation of the atomic bomb's appearance. The film's story, which explores the subject of nuclear bombs, remains relevant today, and Jackson also acknowledges the impending revolution in artificial intelligence.
Lucasfilm/Industrial Light & Magic (ILM) is closing its VFX and animation facility in Singapore, affecting over 300 employees. The decision is attributed to changes in the global entertainment industry and economic factors. The closure is a setback for Singapore's aspirations to become an entertainment industry hub, as it has been overshadowed by the growth of industries in India, China, and South Korea. ILM is offering opportunities for employees to relocate to other studios and will collaborate with the local business community to provide job opportunities.
Christopher Nolan recreated the subatomic world and Trinity atomic blast for his film "Oppenheimer" using practical effects instead of CGI. VFX supervisor Andrew Jackson worked closely with special effects supervisor Scott Fisher to shoot an extensive library of microscopic particle elements and conduct experiments with cloud tanks and IMAX cameras. The final 100 VFX shots were created through complex compositing of practical elements, resulting in a visually stunning portrayal of Oppenheimer's visions and fears.