Pixomondo - résultats de la recherche

Here is the second trailer for GAME OF THRONES - SEASON 3. The VFX are made by : Pixomondo Spin VFX (VFX Supervisor : Doug Campbell)

Here is the new trailer for OBLIVION. The VFX are made by : Digital Domain (VFX Supervisor : Eric Barba) Pixomondo The Production VFX Supervisors are : Bjorn...

Lara Lom began her VFX career at Pixomondo and worked on the films FAST FIVE and HUGO. She then joined MPC in 2012 and participated in numerous projects such as DARK SHADOWS, TOTAL RECALL and PROMETHEUS.

John Moffat joined Double Negative in 1998 and participated on most projects of the studio such as PITCH BLACK, ENEMY AT THE GATES, THE CHRONICLES OF RIDDICK or ATONEMENT. He also participated on several HARRY POTTER which he oversaw the effects of the last 3 episodes.

After he talked about his work on RANGO, Henry Hobson has worked on projects like THE HANGOVER PART II, FRIGHT NIGHT or THE THING. He returns to The Art of VFX to explain his work on SNOW WHITE AND THE HUNTSMAN.

From 8 to 11th Mai took place the FMX 2012 with an impressive selection of high quality conferences. This was an great opportunity to meet many artists interviewed here and also make beautiful meetings. A big thanks to the FMX staffs!

Miklos Kozary worked for studios like Mr. X or Pixomondo and participated in movies like SHOOT 'EM UP, VALKYRIE or NINJA ASSASSIN. In 2008, he co-founded Elefant Studios and made the effects of films such as CARGO, or HELL. In the following interview, Miklos talks about his work on WE ARE THE NIGHT.

Jamie Dixon is a true pioneer in the world of visual effects. He was one of the first employees at Pacific Data Images in 1985. His wire removal on TERMINATOR 2 was one of the first and same thing about the morphing on the faces for the music video BLACK & WHITE of Michael Jackson. He founded Hammerhead in 1995, with Dan Chuba, Thad Beier and Rebecca Marie, and work on many films such as TRUE LIES, TITANIC, X-MEN, THE CHRONICLES OF RIDDICK or WANTED.

Alessandro Cioffi has built his knowledge of visual effects by working in various studios in Italy, London or Germany. He participated to the compositing of such movies as 300, KINGDOM OF HEAVEAN or SWEENEY TODD. He joined the Trixter in 2007 and NINJA ASSASSIN mark its first movie as visual effects supervisor. He talks about his work on NINJA ASSASSIN and how Trixter has managed this ambitious project.