Updated MODO debuts from The Foundry

Published in Post & VFX

Not only has The Foundry released a new version of its well-regarded 3D content creation application, MODO, but it has also announced a partnership deal with the MakerBot 3D printing platform.

Remembering Rhythm & Hues and Life of Pi

Published in Post & VFX

It’s been nearly three years since Rhythm & Hues filed for Chapter 11 bankruptcy. 11 days later its work on Life of Pi won it an Oscar.

VFX goes international

Published in Post & VFX

HaZ looks at the trend for post production and VFX to be moved overseas and asks the question: what does this mean to new and existing visual effects artists?

Gravity VFX/Stereoscopic Conversion Breakdown

Published in Articles

The critically-acclaimed Gravity thrilled audiences with its mesmerizing portrayal of astronauts struggling with an outer space worst case scenario. Prime Focus World, a leading VFX and post services company, made this breakdown to demonstrate how they created a parallel stereoscopic conversion and VFX workflow for the film.

Maxon gets creative with Cinema 4D

Published in Post & VFX

Maxon has launched Cinema 4D R17, the latest version of its evergreen 3D modelling, animation and rendering tool.

The URSA Mini’s best kept secret?

Published in Production

There has been a lot of focus and attention on the new Blackmagic URSA Mini and its abilities, such as a 15 stop dynamic range, well thought out ergonomics and lighter weight than the full size URSA. However one of its hidden talents may also be one of the most ground breaking, especially given the company's acquisition of the Fusion VFX software.

4K Ready? 4K Now! One of the things that was most noticeable about IBC2014 was that 4K is now very much a part of the mainstream. That’s not to say there wasn’t still room for debate, though.

How do you make a comic book superhero film set in New York? The answer is that you don't make it in New York. Instead, you shoot it in a green-screen studio in New Mexico

X-Men: Days of Future Past holds a very special distinction for its franchise: it is the first X-Men film nominated for the Academy Award in Best Visual Effects. Here we celebrate the film by sharing two illuminating and visually sumptuous VFX breakdowns.

Andy Stout begins our new six-part series looking at the history of VFX in cinema back where it all started, with early pioneers such as Georges Melies developing the optical effects that Orson Welles would use to such dramatic effect nearly half a century later.

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