The new release, shaped directly by creator feedback, includes upgrades to Cinema 4D, Redshift, ZBrush, and Red Giant; available now to all subscribers.
For director Mike Roth and animation director Garrett Ray, getting the most from your 2D animation means you can’t limit yourself to what the rigs are capable of – you have to force them to get the result you’re after.
3D artist will act as studio’s primary product visualizer by cleaning up CAD models, modeling products from scratch, and processing all client artwork files to be used on 3D models.
The Spanish VFX and animation house delivered bubbles, fish, underwater shots and a dramatic shipwreck on the Prime Video sci-fi drama series about an oceanographic expedition that gets dragged by a storm to the farthest point from inhabited land on Earth: Point Nemo.
The ILM VFX and Groom Supervisor discusses the challenges of creating Dulcibear, the nanny, and Wolf Doctor digital characters, along with Elphaba as a bright green baby, in Jon M. Chu’s hit musical adventure.
The 18th ACM SIGGRAPH Conference and Exhibition on Computer Graphics and Interactive Techniques in Asia will be held at the Hong Kong Convention and Exhibition Centre December 15-18, 2025.
By integrating the Wonder Studio cloud-based 3D animation and VFX technology into its production pipeline, the creative studio took advantage of new AI and machine-learning-based tools to create 134 creature shots in 6 weeks for the CW’s ‘Superman & Lois.’
At this year's Autodesk Univerisity, with the help of Mikros Animation, Digital Fish, and Wonder Studio, the tech giant demonstrated a slew of program feature updates and improvements across its product lineup, all designed to increase creative productivity and lower barriers for great storytelling.
Tech giant showcased new features that boost cloud-enabled workflows focusing on empowering teams and artists to work more efficiently; also teased, new AI capabilities coming to Maya and Flame following company’s acquisition of Wonder Dynamics.
The annual computer graphics conference and exhibition comes to Tokyo, Japan December 3 – 6; will once again the Electronic Theater and Animation Theater will celebrate the best in computer animation.
The co-founder discusses the loss of his business partner, Jan Rogowski, and the studio’s transition from theme park films to feature films centered around an interesting creative niche: animated cats.
The annual conference concludes its latest edition, which ran December 12-15 in Sydney; 5,690 attendees from more than 40 countries gathered, including technical and creatives in research, science, art, animation, gaming, interactivity, education, and emerging technologies.
A gathering place for technical and creatives in research, science, art, animation, gaming, interactivity, education, and emerging technologies, the annual conference and exhibition on computer graphics and interactive techniques comes to Sidney, Australia, December 12-15.
New service rigs and animates static models in a matter of moments.
The report shows growth in demand for digital content and tools for its creation, especially in emerging markets.
Teams led by Casey Pyke and Ryan McCoy produced previs – and some postvis – on key scenes involving the Ballroom Dance, an Octopus chase, a Garbage Truck chase, and the big third act dreams chase, on Francis Lawrence’s adaptation of Winsor McCay’s famous comic strip, now streaming on Netflix.
The leading VFX studio delivers plane crashes, house fires, and a cave with 500-year-old gold treasure, in the latest season of Netflix’s action-adventure mystery teen drama about two warring clans in North Carolina’s famous barrier islands.
The visual effects studio's team, led by VFX supervisor João Sita and animation supervisor Fernando Herrera, delivered 200 shots that featured a bed that walks and floats, an animated stuffie named Pig, and a massive flying Canadian goose, on the fantasy adventure now streaming on Netflix.
The VFX supervisor shares his studio’s fun, old-school visual effects work on Elizabeth Banks’ horror comedy based on the true story of a black bear, sometimes known as Pablo Escobear, who fatally ingested 75 pounds of cocaine dropped by smugglers in the Tennessee wilderness in 1985.
Leading visual effects studio delivers 420 shots, including a massive, sinister 3D snake, on Florian Sigl’s feature film adaptation of Wolfgang Mozart’s 232-year-old opera, which hits U.S. theaters today, March 10, courtesy of Shout! Factory.
With an exclusive ‘Wishing Star Battle’ breakdown reel to help illustrate, the visual effects supervisor takes us behind the digital curtain, sharing lookdev mandates, design directives, and production realities on how our titular feline hero, as well as the Wolf, Perrito and other characters came to life, on the Oscar-nominated 3DCG animated feature.
Featuring 6 hours of curated training material covering VFX filmmaking, Compositing, Modeling, and After Effects Animation, the VFX Sampler is a superb introduction to the global education program’s comprehensive, degreed, and accredited visual effects instruction.
Key updates for Maxon One line expand Forger capabilities with modeling toolset, including subdivision surfaces and symmetry; performance upgrades in Red Giant Trapcode’s improve particle simulation creation in Adobe After Effects.
Producer Mark Swift talks about the development of DreamWorks Animation’s blockbuster adventure-comedy now in theaters, and why the long-awaited swashbuckling feline’s return is his favorite of all the films he’s worked on.
Joel Crawford, director of DreamWorks Animation’s latest adventure-comedy, talks about Kurosawa, Sergio Leone, and the making of his new film about the famous whiskered adventurer’s coming to grips with mortality, a brilliant, instant classic, now in theaters.
