The high-performance workstation provider will also be demonstrating a ‘Virtual Rage Room’ immersive, interactive experience that leverages markerless mocap tech and a 10-foot LED volume.
The London and Montreal-based visual effects studio was the lead vendor on the Netflix series’ Season 7 finale, a feature-length sequel episode to the acclaimed Season 4 opener, ‘USS Callister’ released in 2017.
Overall VFX supervisor James MacLachlan helped deliver 600 shots that included teleportation, fragging and defragging, spaceships, space battles, and a gyroscopic Heart of Infinity immersive simulation, on the sci-fi anthology’s season-ending episode, a sequel to the fan favorite Season 4 opener, ‘USS Callister.’
The independent creative production studio’s new digital set is now part of its pipeline to build immersive video experiences leveraging virtual production, AI, and agile workflows.
Now fully operational, the Malaysian studio includes a curved LED wall, side panels, and ceiling displays, powered by three 4K Tessera SX40 LED video processors; INFiLED p2.5, p3.91, and p5.9 LED panels deliver HDR-ready visuals to meet the growing demands of the country’s filmmakers and content creators.
Coming this winter, the virtual production software update will deliver Camera and Display Plugin and Color Calibrator improvements for a better broadcast and cinema workflow; both apps are free with select features available under a paid license.
World-building lab and creative studio’s new facility features a 30-foot-wide by 10-foot-high LED wall built with AOTO 2.3mm pixel pitch panels and Brompton SX40 Tessera processors.
Creators and co-showrunners Geneva Robertson-Dworet and Graham Wagner, and VFX supervisor Jay Worth, discuss how they integrated 50’s B-Movie Sci-Fi, Spaghetti Western, and Future War tones and designs into their darkly satirical hit series adaptation of Bethesda’s best-selling video game, now streaming on Prime Video.
The leading VFX and animation studio partnered with Dimension Studio on an end-to-end virtual production and visual effects effort on more than 1,600 shots and 200 assets for Apple TV+’s harrowing miniseries that follows the exploits of the 100th Bomb Group flying daytime missions over Nazi Germany during the darkest days of World War II.
The Accelerator course will allow trainees in London to shoot a film on an 8,000 square-foot LED stage with the same MARS LED volume used on ‘3 Body Problem,’ ‘Culprits,’ ‘Gangs of London,’ and other projects.
The new toolset enables the moving of 3D scenes quickly from industry-standard creation tools onto LED screens without the slow data conversion process.
Studio creates ‘authentic artificiality’ for Yorgos Lanthimos’ BAFTA winning, Oscar-nominated feature starring Emma Stone, Mark Ruffalo, Willem Dafoe and Ramy Youssef.
Studio’s new division produced and animated Roland Lane’s new short film, which celebrates the world’s beauty while emphasizing its fragility, now showing in 8k on 360-degree floor-to-ceiling screens at Outernet London.
For Simon Hughes and his Union VFX team, Yorgos Langthimos’ dark comedy, a stunningly designed visual maelstrom, required something completely different from a typical VFX project, including odd, surgically created hybrid animals using as much actual footage as possible, integration of plates shot with 3 different film stocks, 11 enormous wrap-around LED screens, 50s style painted backdrops, and some really crazy colored skies.
The program, developed in partnership with Media Cymru and the University of South Wales, is open to Wales-based creators and producers with 3+ years’ experience; the training runs January 8-12, 2024, deadline to apply is December 1, 2023.
Team uses state-of-the-art virtual production and real-time technology, including Unreal Engine and disguise, to highlight expanded tech capabilities of OnStar’s offerings – without ever having to hit the road; check out ‘From The Lab: Building the OnStar’ to see how.
Co-Visual Effects Supervisor Raymond Chen, working with DNEG, Pixomondo, Stereo D, and BOT VFX, delivers dragons and unicorns, as well as forcefields, capes – yes, capes – and various magical effects, on Warner Bros. and David Sandberg’s ‘Shazam!’ sequel.
Visual Effects Supervisor Bruce Jones, working with DNEG, Pixomondo, RISE, Scanline VFX, and Wētā FX, delivers a slew of mythical monsters, including dragons, cyclops, manticores, minotaurs, and harpies, on Warner Bros. and David Sandberg’s ‘Shazam!’ sequel.
The veteran visual effects and performance-capture expert, and current M&E director at AMD, talks about exciting, seismic changes taking place in visual effects and virtual production.
The award-winning VFX studio’s team, led by Connor Ling and Freddy Salazar, created tools integrated with Unreal Engine 5.1 to render and project realistic backgrounds onto an LED wall using 18 different machines with dual GPUs, for the Netflix series about an ocean liner diverted to answer a distress signal from a long-lost sister ship.
Free virtual presentation explores how Vū’s virtual production environment, coupled with NVIDIA RTX™ A6000 professional GPUs, optimizes workflows, pushing the boundaries of creative possibilities.
New film and TV recipients include animated shorts - Bit Film’s ‘Little Bird,’ Westworld’s ‘The Silent Sea,’ and Chromosphere’s ‘Mall Stories;’ since its inception 4 years ago, 1,800 recipients across 6 continents have been awarded grants.
The AWS-powered Virtual Production stage debuts alongside the new Amazon Studios Virtual Production department; ‘Candy Cane Lane’ directed by Reginald Hudlin and starring Eddy Murphy, kicks off as the stage’s inaugural feature film production.
This free presentation on December 8 will explore how Vū’s virtual production environment, coupled with NVIDIA RTX™ A6000 professional GPUs, is optimizing real-time workflows in ICVFX and pushing the boundaries of the possible in virtual production.
This free virtual presentation will explore how Vū’s virtual production environment, coupled with NVIDIA RTX™ A6000 professional GPUs, is optimizing workflows and pushing the boundaries of the possible in virtual production.
