Tumgik
#vfx
Text
Tumblr media
"Frazzled Alfiq"
Art for The Elder Scrolls: Legends
Art by Nuare Studio
VFX by Vladislav Nesterovsky
33 notes · View notes
pantsed-dude · 2 days
Text
The office told everyone to be on the lookout for hackers due to a security breach, but we weren't told they could go this far! 😫 New mouse cursor scenario! 😁
24 notes · View notes
hashtagloveloses · 7 months
Text
NEW UNION JUST DROPPED
Tumblr media Tumblr media
LET'S GOOOOOOO
45K notes · View notes
fans4wga · 8 months
Text
Tumblr media Tumblr media Tumblr media
26K notes · View notes
technoturian · 9 months
Text
Tumblr media
24K notes · View notes
timandbash · 1 month
Text
Postman goes to wrong house...
Thanks to our Patreons for helping making this video happen! More Tim and Bash 👇 https://linktr.ee/timandbash
Credits: Music: Markus Zierhofer Sound Design: Gabriel Gallardo-Alarcon
6K notes · View notes
fleshadept · 9 months
Text
Tumblr media Tumblr media Tumblr media
HOT LABOR SUMMER
12K notes · View notes
shesnake · 10 months
Text
Spider-Verse Artists Say Working on the Sequel Was ‘Death by a Thousand Paper Cuts’
Why don’t more animated movies look this good? According to people who worked on the sequel, Across the Spider-Verse, it’s because the working conditions required to produce such artistry are not sustainable.
Multiple Across the Spider-Verse crew members — ranging from artists to production executives who have worked anywhere from five to a dozen years in the animation business — describe the process of making the the $150 million Sony project as uniquely arduous, involving a relentless kind of revisionism that compelled approximately 100 artists to flee the movie before its completion.
While frequent major overhauls are standard operating procedure in animation (Pixar films can take between four and seven years to plot, animate, and render), those changes typically occur early on during development and storyboarding stages. But these Spider-Verse 2 crew members say they were asked to make alterations to already-approved animated sequences that created a backlog of work across multiple late-stage departments. Across the Spider-Verse was meant to debut in theaters in April of 2022, before it was postponed to October of that year and then June 2023 owing to what Entertainment Weekly reported as “pandemic-related delays.” However, the four crew members say animators who were hired in the spring of 2021 sat idle for anywhere from three to six months that year while Phil Lord tinkered with the movie in the layout stage, when the first 3-D representation of storyboards are created.
As a result, these individuals say, they were pushed to work more than 11 hours a day, seven days a week, for more than a year to make up for time lost and were forced back to the drawing board as many as five times to revise work during the final rendering stage.
"For animated movies, the majority of the trial-and-error process happens during writing and storyboarding. Not with fully completed animation. Phil’s mentality was, This change makes for a better movie, so why aren’t we doing it? It’s obviously been very expensive having to redo the same shot several times over and have every department touch it so many times. The changes in the writing would go through storyboarding. Then it gets to layout, then animation, then final layout, which is adjusting cameras and placements of things in the environment. Then there’s cloth and hair effects, which have to repeatedly be redone anytime there’s an animation change. The effects department also passes over the characters with ink lines and does all the crazy stuff like explosions, smoke, and water. And they work closely with lighting and compositing on all the color and visual treatments in this movie. Every pass is plugged into editing. Smaller changes tend to start with animation, and big story changes can involve more departments like visual development, modeling, rigging, and texture painting. These are a lot of artists affected by one change. Imagine an endless stream of them."
"Over 100 people left the project because they couldn’t take it anymore. But a lot stayed on just so they could make sure their work survived until the end — because if it gets changed, it’s no longer yours. I know people who were on the project for over a year who left, and now they have little to show for it because everything was changed. They went through the hell of the production and then got none of their work coming out the other side."
10K notes · View notes
kevinbparry · 1 year
Text
How I broke myself in half.
19K notes · View notes
destielmemenews · 8 months
Text
Tumblr media
source 1
source 2
6K notes · View notes
staud · 2 months
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
VFX work behind The Terror (2018) – by Universal Production Partners
2K notes · View notes
animentality · 9 months
Text
Tumblr media
7K notes · View notes
macleod · 8 months
Text
Tumblr media Tumblr media
Visual effects crews at Walt Disney Studios have taken a significant step to unionize after filing with the National Labor Relations Board (NLRB) for an election to unionize.
A supermajority (over 80%) of the 18 in-house VFX crew members at Walt Disney Pictures signed authorization cards signaling their desire to unionize.
The historical move is the second time in history that VFX professionals have joined together to demand the same protections and rights as their colleagues. Earlier this month, VFX crews at Marvel Studios voted to unionize beginning Aug. 21. Ballots are due on Sept. 11, and the vote count will take place on Sept. 12.
Unions Work, Unionize.
Source: Variety, August 28th 2023
4K notes · View notes
anaxe · 1 year
Text
✨👁✨
9K notes · View notes
fans4wga · 7 months
Text
September 13: Marvel VFX Workers Unanimously Vote to Unionize With IATSE
Huge news! Congrats to the newly unionized Marvel Studios VFX workers.
11K notes · View notes
iww-gnv · 9 months
Text
Visual effects crews at Marvel Studios today filed for a unionization election with the National Labor Relations Board, with a supermajority of Marvel’s more than 50-worker crew having signed authorization cards saying they want to be represented by IATSE. “We are witnessing an unprecedented wave of solidarity that’s breaking down old barriers in the industry and proving we’re all in this fight together,” said IATSE President Matthew Loeb. “That doesn’t happen in a vacuum. Entertainment workers everywhere are sticking up for each other’s rights, that’s what our movement is all about. I congratulate these workers on taking this important step and using their collective voice.” According to the union, “this marks the first time VFX professionals have joined together to demand the same rights and protections as their unionized colleagues in the film industry.”
2K notes · View notes