At FMX 2019, a premier conference for media and entertainment in Europe, five trends emerged for the future of animation and VFX. Read about the ones to watch this year.
Real-time rendering has been opening the door to new virtual production techniques in recent years, revolutionizing VFX pipelines. But what if you could produce the actual final pixels in camera, on set? Find out how Stargate Studios is doing just that.
Real-time rendering has been opening the door to new virtual production techniques in recent years, revolutionizing VFX pipelines. But what if you could produce the actual final pixels in camera, on set? Find out how Stargate Studios is doing just that.
Previsualization has been helping production teams make better movies for well over a decade, but using game engines brings a whole new angle to the art. Find out how teams at Framestore, Fox Feature Films, Halon Entertainment, and The Third Floor are making it pay off in spades.
Previsualization has been helping production teams make better movies for well over a decade, but using game engines brings a whole new angle to the art. Find out how teams at Framestore, Fox Feature Films, Halon Entertainment, and The Third Floor are making it pay off in spades.
FMX 2019 is just around the corner, and Unreal Engine is going to be everywhere! Find out more about our exciting lineup of demonstrations, sessions, panels, and networking opportunities.
Not least among several exciting partner announcements and demonstrations at Autodesk University 2018 was Chaos Group’s much-anticipated unveiling of V-Ray for Unreal, uniting real-time and ray-traced workflows.
When ILM set about creating the visual effects for Solo: A Star Wars Story, they wanted to raise the bar. Using StageCraft VR, their Unreal Engine-powered virtual production tool, they were able to plan their shots without flying blind—and get the whole team on board a moving train.
When ILM set about creating the visual effects for Solo: A Star Wars Story, they wanted to raise the bar. Using StageCraft VR, their Unreal Engine-powered virtual production tool, they were able to plan their shots without flying blind—and get the whole team on board a moving train.
When director Robert Zemeckis needed animated dolls give believable human performances in “Welcome to Marwen,” his VFX team developed a unique method of projecting facial capture onto digital models. Virtual production techniques for matching digital and on-set lighting made it all possible.
When director Robert Zemeckis needed animated dolls give believable human performances in “Welcome to Marwen,” his VFX team developed a unique method of projecting facial capture onto digital models. Virtual production techniques for matching digital and on-set lighting made it all possible.