Disguise Creative Services spent 52 weeks on Jared Hess’ hit action comedy, working as a virtual art department to create 20 digital environments in Unreal Engine that were used in pre-production, production and post.
ASIFA-Hollywood celebrates the best the industry has to offer at animation’s most prestigious awards ceremony, February 21, 2026, at UCLA’s Royce Hall.
VFX Supervisor Sheldon Stopsack and Animation Supervisor Kevin Estey discuss the studio’s extensive world building and character design / animation work on Jared Hess’ hit comedy adventure, delivering 450 visual effects shots that wove together the game’s block-based aesthetic with live-action photography; work included villain Malgosha, The Overworld, The Nether, 12 different Piglin variants, zombies, skeletons, and loveable wolf Dennis.
The legendary director, animator and VFX supervisor will host ‘Stop Motion: Bring the Goods,’ presenting with Tom Gibbons, Mark Dubeau and Gary Mundell their work on ‘Star Wars’ projects; Marc Morissette will then join to give sneak peek at Tippett’s upcoming ‘Sentinel.’
Overall VFX supervisor James MacLachlan helped deliver 600 shots that included teleportation, fragging and defragging, spaceships, space battles, and a gyroscopic Heart of Infinity immersive simulation, on the sci-fi anthology’s season-ending episode, a sequel to the fan favorite Season 4 opener, ‘USS Callister.’
While the use of AI in M&E continues to grow, so does virtual production powered by real-time technology, which reduces costs and time to delivery as well as allow artists in film, TV, games and immersive experiences greater flexibility to iterate and deliver higher fidelity work.
Ahead of tomorrow’s Day 1, the conference teases ‘Mufasa’ technical innovations, new VFX talks, Dave Gouge’s studio insights panel, targeted career sessions, and a short film YouTube series diving into topics such as taking cinematic images from Unreal Engine.
The killer conference starts next Tuesday; a variety of panels related to this year’s ‘Rhythm of Change’ theme now set, from the state of the industry and growth of AI to updates on ‘The Art of Animation’ and ‘Expanding Realities’ tracks.
Consumers continue to expect fresh and innovative experiences across film, TV, games and interactive experiences, in greater quantity with higher fidelity, which means artists and studios require more compute power to handle ever-growing datasets while still delivering on time and on budget.
The 3-day annual event returns to the Pasadena Convention Center October 24-26 celebrating the best in live-action, animation, illustration, and gaming with panels, programs, and demos featuring industry leading artists, creators, and studios.
New feature includes a library of classic lighting scenarios with over a dozen presets that can be customized or replaced entirely via in-built generative AI prompt; now available via the Previs Pro app.
Expansion to state-of-the-art facility with up to 250 artist positions grows the company’s international footprint and ability to take on more ambitious work; expansion also planned at Los Angeles headquarters.
Lists of participating speakers and companies have also been published; presentation categories include VFX for Features, Feature Animation, Sound Design, Managing Change, and News.
The pitching and co-production forum for animated TV projects returns to Toulouse September 15-18, 2025; projects are now being accepted through May 7, 2025.
Visualization supervisors Christopher McDonald and Maike Fiene discuss their teams’ expansive and extensive efforts, from previs to postvis and final, including helping devise camera angles and character movements, on Nessarose Thropp’s levitating wheelchair, Elphaba taking flight, and Doctor Dillamond sequences, on Jon M. Chu’s hit musical adventure.
Established in 2006, the Oscar qualifying event returns to Canaria, Spain May 7-10, 2025; the event promotes creative development in animation, visual effects and new technologies.
International Festival of Animation, Transmedia and Meta-Arts returns to Pescara, Italy May 29 – June 1, 2025.
The 4-day event transforms the city’s ‘Animation Week’ into a hub for seasoned and emerging creators to recharge, inspire, celebrate, and ignite their passion for storytelling, running November 20-23 in Burbank, California.
Italy’s premiere animation and visual effects event runs in-person October 12-17 in Torino, Italy with a focus on Computer Graphics, Interactive Techniques, Digital Cinema, 2D/3D Animation, VR and AR, Gaming and VFX.
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.
Now fully operational, the Malaysian studio includes a curved LED wall, side panels, and ceiling displays, powered by three 4K Tessera SX40 LED video processors; INFiLED p2.5, p3.91, and p5.9 LED panels deliver HDR-ready visuals to meet the growing demands of the country’s filmmakers and content creators.
The premier conference and exhibition on computer graphics and interactive techniques comes to Vancouver, BC August 10-14.
The 4-day event returns to Stuttgart, kicking off May 6; on-demand presentations are available May 10 – June 10.
Latest version of industry-leading compositing software allows changes to multiple shots at the same time, faster large-scale roto work, and updated timeline tools for faster shot approval and delivery.
The newest group members bring with them ‘the artistic talent and the technical know-how that will help strengthen open source development in the motion picture industry.’
