The award-winning definitive authority on all things visual effects in the world of film, TV, gaming, virtual reality, commercials, theme parks, and other new media.
Winner of two prestigious 2018 Folio Awards for excellence in publishing.
Prequels, sequels and other franchise films dominate the preliminary list of achievements eligible for a VFX Oscar this year (Studio Daily)
Writer/director Graham Sack on the 360 VR video LINCOLN IN THE BARDO and the four-part VR series THE INTERPRETATION OF DREAMS (VFX Voice)
Earlier this year, Domee Shi became the first woman in Pixar’s 32-year history to direct a short film at the studio. (Cartoon Brew)
Authors claim hard Brexit or no deal threatens videogaming’s status as British success story (The Guardian)
Looking over the past two decades of VFX work, Visual Effects Society chair Mike Chambers thinks we’ll see even greater strides made by future nominees (Variety)
Pre-existing franchises and IP rule the 46th annual Annie Awards nomination list. (Deadline)
Amongst the many mysteries of movie magic – that is, how the imagery gets from idea to screen – one elusive part of the process regularly remains somewhat of a mystery: vfx bidding and budgeting. (Cartoon Brew)
No, a bridge wasn’t actually blown up for the scene, and most of the zombies featured in it were computer-generated. The masters at Goodbye Kansas Studios made it happen. (Bloody Disgusting)
Viacom International Media Networks announced Chris Rose as the new Vice President of International Animation Production & Development for Nickelodeon. (Animation Magazine)
Technicolor VFX named Paul Ghezzo creative director at its Los Angeles studio, which is integrated within the company’s post-production business. (Studio Daily)