The previs supervisor discusses a wide-range of visualization work on HBO’s award-winning TV series, as well as her studio’s efforts on Disney’s live-action hit, ‘Beauty and the Beast.’
The future of storytelling lies in our primal past.
The veteran director and NFB filmmaker discusses story and design inspirations as well production and artistic challenges he faced during the making of his award-winning animated short film.
Landing a deal after years of hard work is quite SWEET!
The essence of storytelling is directing the attention of another. So what happens when the other has the power to direct his own attention?
The veteran animation director discusses his experience at the helm of Sony Pictures Animation’s latest animated feature.
The red carpet is not out for Chinese TV co-productions.
The veteran VFX supervisor talks about his recent work on VR and animated stereoscopic 3-D dome projection projects as well as feature films in development.
The veteran VFX supervisor and producer discusses the differences in visual effects he supervised on the new sequel compared to his Oscar-winning VFX work 20 years ago on the original Roland Emmerich hit film, Independence Day.
The norm lavishes in opulence and tranquility, making it difficult to willingly seek out challenging creative endeavors.
At this point in the project, I really hoped I would be further along.
In our “VR-first future,” the road to hell is paved with good intentions.
The veteran designer details his work as production designer and art director on Pixar’s third offering of their hit ‘Cars’ franchise.
The GM and executive producer talks in detail about his studio’s previs work on Marvel’s ‘Doctor Strange,’ Disney’s ‘Beauty and the Beast’ and ‘Rogue One: A Star Wars Story.’
The veteran VFX and VR director talks about the challenges of bringing compelling storytelling to VR and how to navigate the growing cloud of VR “hype” in order to better focus on viable creative opportunities.
The network promo’d the return of the cult hit with this acid-fueled frenzy created by 22 animators lead by Titmouse director Matt Taylor.
The veteran HALON Entertainment supervisor details his studio’s previs work on Marvel’s superhero action adventure hit, as well as their use of game engines and real-time rendering technology.
My art is on his butt!
Two recent GKIDS releases, both U.S. produced, show how 2D animated features are not just alive, but thriving.
360-degree hutong doodles.
The veteran Framestore VFX supervisor talks about previs, virtual production and visual development on the first cinematic installment about the magical creatures of J. K. Rowling’s ‘Harry Potter’ universe.
The overall VFX supervisor on Luc Besson’s upcoming epic sci-fi adventure discusses the film's challenges and his relationship with the director going back 20 years to 'The Fifth Element.'
The veteran producer talks about creating some of the world’s funniest, most popular and endearing animated films, TV series, shorts and commercials as well as new challenges like storytelling in VR.
Disney's first Chinese TV co-production demonstrates the value of people, process and perseverance.
I have pitched as many as 35 studios in one day.
