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#Industrial Light & Magic
“Captain Marvel” had the sixth-biggest worldwide opening in history, and the second highest debut for a Marvel movie.
Brevig will join Method Studios as senior vfx supervisor and creative director.
It’s breakdown season – here’s our guide to some of the best making of clips, reels, and behind-the-scenes featurettes.
From giving animators greater rigging control to refining the ability to time transformations more precisely, ILM has perfected the technical animation art of the transformation.
The audience’s read on a character is “so influenced by how their hair looks,” says ILM vfx supervisor Jeff White.
ILM TV will offer vfx and animation services for episodic work on streaming and linear tv platforms.
“The Transformers” are going vintage – well, as vintage as you can get for a toy line created in the eighties.
As usual, animation and vfx played a big role in the making of “Ant-Man and The Wasp.”
Academy Award winner Ed Jones explains what it took to create “Who Framed Roger Rabbit” in the days before digital vfx.
Read our quick primer on the latest “Star Wars” film: “Solo.”
A look at the steps involved in “Ready Player One”’s virtual production paradigm.
A desire to make the alien creatures scarier led to the last minute redesign for ILM.
Five vfx supes from the five vfx Oscar-nominated films share tips for collaborating with film directors.
A look at how ILM and Andy Serkis’ Snoke continued to evolve during production on the latest “Star Wars” film.
There are hundreds of visual effects shots in “Downsizing, but the film is certainly not a visual effects movie.
Who’s going to be nominated for a vfx Oscar? And who might slip in through the back door? We do a comprehensive breakdown of the category.
Visual effects legend Phil Tippett looks back at two decades since “Starship Troopers,” and shares recently unearthed location scout and on-set video from the film.
The Italian digital arts conference this month features several leading women in the cg, vfx, and animation industries.