Digital Domain vfx sequence clip showing the impersonation of the President by the Cobra henchman Zartan from G.I. Joe: Retaliation.
The Croods is a 3D comedy adventure that follows the world's first modern family through the journey of a lifetime. When the cave that has always been their home is destroyed – with the rest of their world not far behind it – The Croods are forced to set off on the first family road (or path) trip. Rocked by generational clashes and seismic shifts, The Croods discover an incredible new world filled with fantastic creatures, and a future beyond any they imagined.
Grug and family suffer the indignities of life on the road, whining and complaining about everything.
A prehistoric tale of discovery. A cataclysmic event forces the Croods to venture into parts unknown and rethink their way of living. Traveling across a spectacular landscape, the Croods discover an incredible new world filled with fantastic creatures -- and their outlook is changed forever
The Croods journey through strange lands to find a new home, learning how to really "live" along the way.
Tristan, the cinematographer on ParaNorman, discusses the differences between live action and stop-motion cinematography as well as challenges faced working on ParaNorman. Part 1 of 2.
Tristan, the cinematographer on ParaNorman, describes how advances in technology enhance, not hinder, the creative filmmaking process. Part 2 of 2.
Paul, Oscar-winning VFX Supervisor on Inception, discusses his efforts on several of Christopher Nolan's films including The Dark Knight Rises.
Dan, Chief Creative Officer at Method Studios, details the challenges of working with the Wachowski siblings and Tom Tykwer on their film, Cloud Atlas. Part 1 of 2.
Dan, chief creative officer at Method Studios, talks candidly about onset politics, managing relationships to ensure he gets the shots needed in support of a film's visual effects. Part 2 of 2.
Eric, a writer and director on all three Madagascar films, talks about the challenges faced on Madagascar 3: Europe's Most Wanted. Part 1 of 2.
Eric, a writer and director on all three Madagascar films, discusses the various creative and technical dynamics that impact directing hundreds of artists for several years on a single animated feature. Part 2 of 2.
Gary, Oscar-winning Sound Designer at Skywalker Sound, talks about the importance of sound design to great storytelling and how directors sometimes take sound for granted. Part 1 of 2.
Gary, Oscar-winning Sound Designer at Skywalker Sound, talks about the challenges doing sound design for Disney's Wreck-It Ralph. Part 2 of 2.
Dan, director on TV shows like Lost, The Sopranos, Homeland and The Walking Dead, discusses how the increased use of visual effects has impacted episodic television.
Alex discusses world building, transmedia, the 5D space and how they all integrate into virtual production and previsualization.
Jeff discusses his role as visual effects supervisor on The Avengers, including specific challenges creating The Hulk.
Chris discusses in detail some of the more typical instances of how previs is used on a film. Part 2 of 3.
Chris talks about challenges on recent projects as well as new digital tools Third Floor is developing. Part 3 of 3.
Christian talks about the dynamics and challenges of producing visual effects for television, specifically for the show "Bones." Part 1.
Christian talks about the daily rigors and on set dynamic of producing visual effects for the TV show "Bones." Part 2 of 2.
David describes how virtual production helps cut filmmaking costs as well as how pitchvis is being used to prototype entire films. Part 2 of 2.
Steve discusses how the use of previs and virtual production technologies is impacting how the studio makes films.
Jay discusses creature development, overall visual development and the extensive use of previs on Men in Black 3. Part 2 of 3.
Jay talks about working on films such as Babe, Contact, Stuart Little and Monster House. Part 3 of 3.
Ed talks about the acting performances on some recent films, the push for photorealism and the persistent issue of the "uncanny valley." Part 2 of 2.
Guy talks about the challenges of supervising the mountaintop battle and helicarrier attack sequences on Marvel's "The Avengers." Part 1 of 3.
Guy talks about animating fully CG digital doubles and the tools used for doing vfx on Marvel's "The Avengers." Part 2 of 3.
Guy walks us through a typical vfx production day and the many challenges faced on Marvel's "The Avengers." Part 3 of 3.
Eric talks about the Open Letter one year later and how the VES handles the often conflicting needs of its membership. Part 2 of 2.
Jeff speaks candidly about continued upheaval in the visual effects industry and how artists have never been the smartest business people.
Marv talks about the climate for making independent shorts today and his thoughts on the current state of animation education. Part 2 of 2.
David talks about the Virtual Production focus at FMX and its growing importance within the creative community.
Scott talks about the wide variety of effects work done on the new feature film, Madagascar 3: Europe's Most Wanted.
Henrik and Mark talk about the work they did on "Moonrise Kingdom" and "Underworld: Awakening." Part 2 of 2.