What a looney twist! Coyote vs. Acme, the ill-fated live-action/3DCG hybrid film that was shelved by Warner Bros. Discovery in 2023 for a tax write-off, may soon be bought and distributed by Ketchup Entertainment. While negotiations are still in progress, the deal is reportedly near $50 million.Coyote vs. Acme is directed by Dave Green, with a screenplay by Samy Burch, James Gunn, and Jeremy Slater. Based on Ian Fraziers 1990 humor article Coyote v. Acme, the flick was adapted for the big screen by Burch. Mixing courtroom procedural and zany comedic elements, the story centers on a down-and-out billboard lawyer who decides to represent Wile. E. Coyote in his lawsuit against ACME Corporation over its defective products.John Cena (Peacemaker) stars alongside Lana Condor (To All the Boys Ive Loved Before), Will Forte (Ruby Gillman, Teenage Kraken), P.J. Byrne (Gen V), and others.The VFX were created by BUF, DNEG, Double Negative, Firebrand VFX, Framestore, Jellyfish Pictures, and Warner Brothers, with George Murphy acting as visual effects supervisor.Ketchup recently distributed Warner Bros. Discoverys The Day the Earth Blew Up: A Looney Tunes Movie, which opened in theaters March 14. Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

The FMX 2025program isnow online. Lists of participating speakers and companies have also been published. The event runs May 6-9 in Stuttgart, May 10 June 10 on-demand.Production supervisor Kevin Baillie and Metaphysic VFX supervisor Jo Plaete will host an exclusive behind-the-scenes look at how artist-empowering AI transformed Robert Zemeckis film Here. This session explores how AI-enabled de-aging technology preserved the performances of Tom Hanks, Robin Wright, Paul Bettany, and Kelly Reilly, seamlessly spanning decades.Baillie and Plaete will break down the real-time face-swapping system that allowed actors and directors to see de-aged performances instantly on set, as well as the AI-driven post-production techniques that allowed Zemeckis to leap over the uncanny valley. They will also discuss AIs broader impact on digital environments, body reconstruction, and enhancing prosthetics for aged characters. This session is part of the VFX for Features track. A devastating deluge hits the world in the Oscar-winning animated feature, Flow. Since the animals don't talk, non-verbal communication plays a decisive role: body language and the animals' natural sounds. In his FMX presentation, animation supervisor Thibaut Delahaye will explain how he approached his part of the feat, focusing on animating quadrupeds. The session is part of the Feature Animation track.Sound designer Gurwal Loc Dallas will elaborate on how sound can convey emotions to help immerse viewers in a film without dialogue. The session is part of the Sound Design track, curated by Nami Strack.Florian Gellinger, co-founder and executive producer, RISE | Visual Effects Studios, looks at the history of our vocabulary and compares it to other industries. How are these industries perceived in the public compared to what we do? How are the companies in our industry marketing themselves? This session is part of the Managing Change track, curated by Imke Fehrmann. Platige Image Producer Marina Borokhova and Lead Previs Artist Dominik Wawrzyniak will take an in-depth look at the pre-production process of the "Crossfire" episode of Prime Videos Secret Level animated anthology series. They will cover everythingfrom storyboarding to motion capture, editing and previs. This session is part of the Animated Seriestrack.How does it feel to have a body? How do we want it to feel? Raman Djafari's presentation will provide insight into his process and thoughts as a director of animated music videos and short films, as well as his practice as an illustrator. This session is part of the News track, curated by Shelley Page.Source: FMX 2025 Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

When George Lucas came up with the concept for Star Wars, he was inspired by his inner child who loved watching Saturday matinee adventure serials. So, its appropriate that Christopher Ford and Jon Watts channeled a Goonies-vibe into the franchise with LucasfilmsStar Wars: Skeleton Crew.Now streaming on Disney+, Star Wars: Skeleton Crew follows the journey of four kids who make a discovery on their seemingly safe home planet, then get lost in a strange and dangerous galaxy. Finding their way home will be a greater adventure than they ever imagined. The live-action series stars Jude Law as the mysterious Jod Na Nawood.Brought on to oversee the digital wizardry was Production VFX Supervisor John Knoll as well as an alliance of visual effects vendors that included DNEG, who provided 150 shots across three episodes involving futuristic currency (gold credits), destroyed cities, security droids, atmospherics, and the elephantine principal character Neel.I grew-up watching Star Wars, Goonies, and Amblin; all those films were given to us as key references for Skeleton Crew, states Chris McLaughlin, VFX Supervisor, DNEG. It was exciting to be brought into that world. Some of the practical techniques from Lucas original trilogy were utilized. John Knoll was driving the visual effects to the point that I believe he had his own motion control rig and shot some the spaceship miniatures himself, McLaughlin continues. John comes from that mindset and was very clear about achieving the filmic look. The way that our work was critiqued, it was about something that was filmic and photographic. There was a lot of discussion about contrast ratio and how light was defocused correctly. As we went through the project, John shared shots from ILM and Hybride, so we could visually see what was going on in the rest of the show and match the look. My favorite shot of ours is the spaceship landing on At Achrann in Episode 104, remarks McLaughlin. It comes out of this fog into a dusty environment. The engines are gunning with smoke and sparks flying into the camera. At Achrann is populated with villages that have been ravaged by war. There were some on-set pieces of destroyed buildings that we had to model and match, he adds, noting that the buildings construction had to be kept in mind. But then we built up a kit of destroyed building pieces and scattered that around. It was mostly a CG environment. We considered, is it reenforced concrete and steel beams? As for the texture, you have to give it a story of how it got destroyed. Was it a bomb that went off? Is there an area that looks burned because that is where the explosion impacted? They discover what is clearly a school that is destroyed and if you look at that you can make out exactly where all the missiles hit. You get an idea of what has gone on there. Atmospherics were an important component. We added a lot of rolling mist and volumetrics, McLaughlin says. A lot of that is simulated and constantly moving. It gives a lot of texture and is a lighting tool. We had a library of clouds with different simulations that we would scatter throughout the scene. Another major series environment is the Mint, which can be found in Episodes 107 and 108. According to McLaughlin, The Mint can be broken down into three main areas. The spaceship lands on this grassy knoll, which opens up. They are actually on top of a lift platform that starts to move down under the ground. We had to build that massive spaceship lift shaft. As theyre going down, they see on one side the credit maker, which is a massive machine that makes the currency which the galaxy uses. They stop at the bottom, come out, and go into one of 1,130 vaults filled with stacks and stacks of these credits, which were key props. The moment when Jod Na Nawood walks up to a pile of credits, picks one out, and that pile starts to crumble, falls apart, and flows through his hand, all of those credits were completely CG. There were also a few little set pieces like the ramp that came down from the spaceship and the grounds of the platform. But pretty much everything there was bluescreen. We had to fill a lot in with CG. Extensive work went into conveying a sense of scale for the vaults. The door was heavy and made of thick, solid steel, adds McLaughlin. The space inside there was cavernous and dusty. We looked at numerous references of huge spaces. The Boeing Everett Factory was a key reference for us. Par for the Star Wars course, there is no shortage of alien species and droids. In Episode 104, the army walking through has these four-legged horse-like creatures with them called eopies, states McLaughlin. That asset came from ILM. We had a few of those marching through and then also the security droids in Episode 107. What was cool about the security droids was on-set in a lot of shots they have a full-size security droid manned by puppeteers standing behind them. When the puppeteer walks, the foot and leg movement of the droid matches their movement; their arms and head were operated by rods. In animation, we had to match their awkward, shuffling style of walking. In several of our shots there are three or four droids. One of them is real, so you have a perfect reference to match. You know when its right. You have to give them a little bit of life and ambient movement even when theyre standing and guarding. You cant have them completely static. The majority of the shots with Neel were accomplished practically. That is a young actor with an animatronic elephant head that is puppeteered by people offscreen, reveals McLaughlin. There is a little panel on the front that he can see out of, which we took out on every shot where you could see it. That was a straightforward job. But when he had to do things like run down a spaceship ramp, he couldnt see that well. For his safety, we would take it off and completely replace the head in CG. We had to match the animatronic completely. ILM was leading on that asset, so we ingested their asset and had to match their textures and shaders, McLaughlin continues. We tracked the actor tightly around the neck and shoulders so that we got a good lock on the head. We made sure the animation rig had the same capabilities as the animatronic. No more, no less. We had a lot of reference to match that performance. Then the color matching was tricky. Its a complex mixture of colors. Its blue but also has grey and pink. Noting that certain facial nuances were digitally enhanced, McLaughlin concludes, We ran a skin and hair simulation to give us deformation and get some swinging of the ears and trunk. But we couldnt go over the top because then your shots start to stand out. We couldnt make them look too perfect! And in the end, you would struggle to tell what shots are CG or just the animatronic. Trevor Hogg is a freelance video editor and writer best known for composing in-depth filmmaker and movie profiles for VFX Voice, Animation Magazine, and British Cinematographer.

Creative assets platform Envato has partnered with KitBash3D, a premium 3D assets company, to offer four of its 3D model kits (City Streets, Manhattan, City Cars, Storefronts) exclusively for subscribers on the Envato website.With the growing popularity of 3D design, the one-stop creative assets platform aims to allow creatives to download high-quality 3D models, templates, and renders seamlessly. Since the asset category launched late last year, nearly one quarter of Envato subscribers have downloaded 3D assets.In a landscape where 3D design drives innovation, Envato is committed to providing our users with the highest caliber assets, said Envato CMO Noelle Kim. Our collaboration with KitBash3D delivers precisely that. These assets aren't just models; they're production-grade elements designed for film and gaming, renowned for their realism. The unique ability to download complementary kits allows creatives to construct entire, interconnected worlds, significantly elevating the quality and efficiency of their productions.The four model kits include:Manhattan - Bring New York City to life with everything from skyscrapers, to museums, to local pizzerias, inspired by the iconic streets of Manhattan itself.City Streets - Transform streets into living, breathing spaces with this bold collection of buildings and unique details like fire hydrants, park benches, and other.Storefronts - What city is complete without some retail spaces? Add in a Mini-Mart, burger joint, fashion boutiques, cafes, and others.Essentials - Choose from a selection of real life vehicles to add that touch of authenticity, including your everyday sedan, midsize SUV, and city transit bus. Source: Envato Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

The Rookie Awards 2025 will be open for entries starting April 7. Now in its 15th year, the global competition offers an opportunity for aspiring artists in creative industries to gain exposure and connect with industry leaders. Entries close June 20, with finalists announced July 31 and winners announced August 20.Students, recent graduates, and emerging talents can showcase their work to over 120 industry professionals, compete for prizes, and get noticed by key studios.In its newest edition, the event boasts increased studio engagement; an extended competition timeline; structured guidelines for each category; new entry limits; and a resource hub with submission guides, tips from past winners, and FAQs.Check out the teaser for the competition now:Source: The Rookie Awards Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Before notching seven Academy Award-nominations and a win earlier this month for his work as the production designer on Wicked, Nathan Crowley started out as a junior set designer for Steven Spielbergs Hook. Getting the opportunity to work on Jon M. Chu and Universals epic, award-winning musical enabled him to recapture the same experience but this time as the production designer. I remember walking through the door of MGM Stage 27 and Hooks ship was up to the rafters, recalls Crowley. I recall thinking, This is where I want to be. I thought all films were like that. It turns out that few are. But Wicked was. There are so many visual effects in this film. Its about how we can make enough thats real. What I liked about Pablo Helman [VFX Supervisor] is he said, Give me enough so I can see the real photography and the natural lighting, so we know what were matching to. My job is to reduce questions for his teams in post-production. We know what it looks like because weve got an example over there. That balance was good. Pablo has got enough on his plate with flying animals and monkeys without having to deal with architecture. We grew nine million tulips. Of course, you can do that in CGI if you wanted to. Crowley emphasizes in-camera elements as a mantra, having worked with Christopher Nolan on eight productions, with five of them earning Oscar nominations. It took working on all of those other films to make this one, he notes. On Interstellar, I grew 500 acres of corn where the house was located. I knew that we could grow tulips because all you have to do is find the right farmer who is excited. We found Mark Eves, and his wife is a fanatic about Wicked. The tulips are the color of the rainbow. There are all of these themes. People have asked me, Why did you bother growing nine million tulips when you can do it in CGI? Because it was one of the first things we did, and we had to start as we intended. If people see a film crew that is going to grow tulips, and the studio can see were going to do this for real it stamps a code on the film. Budgeting and time had to be taken into consideration. Pablo has a certain amount of time in post-production, and I only have a certain amount of time in pre-production. Its not going to look good if he is overloaded and cant get the scale and size of the sets required to balance the image. The art of production design is determining with visual effects where reality ends and CGI starts. The CGI needs to go unnoticed and unquestioned by the audience. Unreal Engine was a critical component of Crowleys art department workflow. What I do is design the set, we push it through Unreal Engine and do a fly-through, he explains. I build a big foamcore model of what I can build out of that fly-through. Hopefully we can afford to build that or then we have to get spray paint and say, We cant afford to build that bit. For Shiz, it was about starting in reality with a real boat, landscape and river, digital Shiz in the background, and pushing through an archway into the dock which is physical and real. Im going to try to have a 50-foot-high set so I can get most of it in-camera, but if we turn this way, Pablo knows hes got to top that up. The departments run as one.Clever decisions had to be made to accommodate the need for production mobility. According to Crowley, The problem with musical dance numbers is theres all of this other crew that you dont get on other films. Its not like doing a Christopher Nolan film where we can go light in Iceland and shoot this stuff. Weve got to take 50 or 100 dancers, all of the make-up and costumes. It becomes this mammoth thing so thats why traditionally musicals are shot on backlots. But we had all of these tulips. Jon M. Chu [Director] said to me, If we sink the village we can run through the tulips and if you build me a runup of the tulips into the backlot we can link them perfectly. What that allows us then to do is build embankments on the backlot, so we didnt have greenscreen below 35 feet. We embanked it and put landscape up and grass, flowers and tulips. It was like the Teletubbies! Partnerships with special effects team, led by Paul Corbould, were especially critical when creating the Emerald City Express. I have worked with Paul on many films, including Dunkirk, so I know that he can build big rigs, remarks Crowley. Its like, Youve got to build me a train that moves. I wanted 500 yards of track and for the train to run it into and out of the station. That didnt happen but we did build the train, and it did work. The thing is if you dont build the train, you miss out on the art direction of making it; its like a piece of sculpture. If you just go with the concept and then deliver the film, youve missed out on that middle bit, which is where you discover the set because youre physically making it in 3D. You manipulate and change it. You dont just lay that image. What I find incredible about AI is it is all very 2D. A lot of people are making 2D images that look beautiful. But you have to make them in 3D as a set. You actually need old school art directors who can take something that is ethereal and turn it into something not ethereal. You get a concept, do it in 3D and learn about it. Weve now gone backwards to a much more art direction driven film industry with AI. One significant area of special effects collaboration was when the Wizard of Oz made a grand entrance through a massive mechanical head. Paul Corbould and a puppeteer built this little 12-inch-tall maquette, whereas the actual thing was more like 17 feet high, Crowley says. We worked with these maquettes for a long time to get the expressions right. But the fundamental design was the Wizard is the man behind the curtain. I didnt want a Wes Anderson curtain. If you have ever been to any art gallery with string architecture, I wanted it to be so you couldnt see the depth of this hanging string. It seems ethereal. The head would come through the string and go, I am Oz. It would be scary, ethereal, like an art piece. But you cant use string. I remember we sat with Pablo and said, We can build it for real, but you have to enhance it if something goes wrong because I dont know if this is going to work. We did it live scene by scene. Youve got a big hydraulic head and were twisting it. Its hanging from the stage ceiling so we can get some leverage. Its incredibly complicated. You take risks but just like the train it has to work on the day. The risk is the fun. Reference designs for Shiz, the university where Elphaba and Glinda attend, included the White City from the Chicago World Fair in 1893. Its an American Faerie tale so I need nostalgia for the audience, Crowley shares. There are also the onion domes and Moorish stuff out of Spain. Water provided a visual motif, which meant that the set had to be flooded. No one liked the water, and it was a fight in those meetings. But heres the theory. How do you get to Shiz? You cant go by train or air balloon because thats the Wizards technology. You cant go by horse and cart because the animals are free. There are no cars. Historically how do you move around? By river. Therefore, I have to show Glinda in a boat going down a river. So, I found and put the White City arch in that landscape. Ive got to build the set two-sided so I can push through it. I also have to construct a tank and a set around the tank. Everyone hates you when you build a tank because theres no such thing as a tank that doesnt leak. You have to keep refilling it and that costs a lot of money. You have to have pumps and 24-hour people. Something Ive learned from Chris Nolan is if you made it difficult then only the people who need to be there show up! The Map Room was inspired by a museum installation Crowley discovered during the production of Dunkirk. The Map Room started as separate set, he reveals. But then I showed Jon this image of a map on a wall. It was an art installation that was in 3D. When you walk up to it you step into it and realize its not a picture but a 3D space. I saw it in Dunkirk when I had a free Sunday. They had these crazy installations in the ship museum of these forced perspective shipyards. I had always thought that was fascinating, so we decided we were going to build this forced map of the whole of Oz in this half egg dome that would show everything. Then Jon said, I want to do Sentimental Man in there and to go from day to night. We had to hydraulically lift the lid off the top of the egg and put a night backing behind. It became this theatrical show within the Map Room, which when you see it, is brilliant.Forests were ultimately constructed on soundstages. I didnt want to use my biggest stage in that way, but we went scouting forests and Jon was like, I dont like any of these, Crowley says. In the van on the way back, he said, Trees shouldnt be straight. I said, Maybe they should be circular. Then we sketched out all these circular trees and he was like, We need to build this forest. I could only go so high with the trees because we had a ceiling height problem on that stage. Most stages are 50 to 55 feet, which is annoying. I could only get a light rig in. That is one set which Pablo didnt like! Trevor Hogg is a freelance video editor and writer best known for composing in-depth filmmaker and movie profiles for VFX Voice, Animation Magazine, and British Cinematographer.

The Adobe Substance 3D team has unveiled multiple updates at GDC, designed to help users work faster and create with more precision.Substance 3D updates include:Substance 3D Painter - The Filled Path feature is a new Path Type thatallows users to fill in a shape traced on a models surface. Path improvementsaim to give greater precision and flexibility. A new unified export windowstreamlines exporting.Substance 3D Designer - Introduces improved rendering technology for more realistic previews.Substance 3D Indie Bundle - Includes pro tools for independent creators who want access to professional-grade tools at a lower price.The software also boasts deepened support for Blender, Unreal Engine, Unity, 3ds Max, and Maya. Expanded Universal Scene Description (USD) support allows for smoother and more efficient asset movement between applications.Source: Adobe Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Demigods, rejoice! The live-action Percy Jackson and the Olympians series has been renewed for a third season ahead of its second season debut, coming to Disney+ this December. This news comes fresh on the heels of the shows 8 Emmy Award wins this past Saturday at the 3rd Annual Childrens & Family Emmy Awards.Season 3 will be based on The Titans Curse, the third installment of Rick Riordans Percy Jackson and the Olympians book series, published by Disney Hyperion.From the moment Percy Jackson and the Olympians debuted, it was clear this series had struck a chord with fans of all ages, said Ayo Davis, president, Disney Branded Television. With Season 2 set to premiere this December, were thrilled to announce that Percys journey will continue with a third season. Huge thanks to our incredible cast and creative team, our partners at 20th Television, and our visionary and talented producers who continue to bring Rick Riordans world to life with such depth and imagination.Were so grateful to be continuing the story of Percy Jackson on Disney+, added Riordan. This third season will be new territory for the screen, bringing fan favorites like the Hunters of Artemis and Nico di Angelo to life for the first time. Its a huge sign of commitment from Disney, and speaks volumes about the enthusiasm with which the fandom has embraced the TV show. Thank you, demigods worldwide!Percy Jackson is created by Riordan and Jonathan E. Steinberg; Season 2 is executive produced by Steinberg and Dan Shotz alongside Riordan, Rebecca Riordan, Craig Silverstein, Ellen Goldsmith-Vein, Bert Salke, Jeremy Bell, D.J. Goldberg, James Bobin, Jim Rowe, Albert Kim, Jason Ensler and Sarah Watson.The series stars Walker Scobell, Leah Sava Jeffries, Aryan Simhadri, Charlie Bushnell, Dior Goodjohn and Daniel Diemer.Percy Jackson Season 1 is available on Disney+.Check out the Season 3 celebration video now:Source: Disney Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Disney and DreamWorks Animation / Netflix were the big winners this weekend as The National Academy of Television Arts & Sciences (NATAS) held its 3rd Annual Childrens & Family Emmys at two separate awards ceremonies this past Saturday afternoon and evening.Hosted by Eric Bauza, the voice of Bugs Bunny, Daffy Duck and Porky Pig among countless others, the awards ceremony featured presenters including Ella Bright Terrence Little Gardenhigh (voice of John Patrick Pat Patterson in Fright Krewe), Paul Walter Hauser (voice of Dark in Orion and the Dark), Leah Sava Jeffries (Annabeth Chase in Percy Jackson and the Olympians ), Kiersten Kelly (voice of Brooklyn in Jurassic World: Chaos Theory), Amanda Martinez (voice of Abuela in Rosie Rules), Arianna McDonald (Snoopy Presents: One-of-a-Kind Marcie), Bobby Moynihan (Former Saturday Night Live cast member, voice of Bobby Boots in Pupstruction), Walker Scobell (Percy Jackson in Percy Jackson and the Olympians), Aryan Simhadri (Grover Underwood in Percy Jackson and the Olympians), Cree Summer (voice of Lizard & DeeDee in Spirit Rangers), Jacob Tremblay (voice of Orion in Orion and the Dark), and Izaac Wang (Sam Wing in Gremlins: Secrets of the Mogwai).Big winners on the day included Percy Jackson and the Olympians, which took home eight Emmys, and Orion and the Dark, which snagged six.The complete list of winners - is as follows:Outstanding Preschool SeriesBlue's Clues & You!Nickelodeon [9 Story Media Group / Brown Bag Films]Executive Producer: Vince Commisso, Wendy Harris, Traci Paige Johnson, Todd Kessler, Angela C. Santomero, Jennifer TwomeySupervising Producer: Nisa Contreras, Shevaun Gray, Peter GriffithsSenior Producer: Ana VociProducer: Jackie PaytonSeries Producer: Lesley SaliwonchykLine Producer: Natasha Daly, Patrick R. Quinn, Kyle WhaleyConsulting Producer: Steve Burns, M.R. Horhager, Vadim Kapridov, Nora Keely, Marcy Pritchard, Jennifer ShermanAssociate Producer: Maddie KrollOutstanding Children's or Family Viewing SeriesFraggle Rock: Back to the RockApple TV+ [The Jim Henson Company in association with Apple]Executive Producer: Alex Cuthbertson, Matt Fusfeld, Lisa Henson, Arnon Milchan, Yariv Milchan, Halle Stanford, John TartagliaCo-Executive Producer: Dave Goelz, Karen PrellProducer: Chris PlourdeCo-Producer: Tim O'BrienOutstanding Young Teen SeriesPercy Jackson and the OlympiansDisney+Executive Producer: Jeremy Bell, James Bobin, Anders Engstrom, DJ Goldberg, Ellen Goldsmith-Vein, Monica Owusu-Breen, Becky Riordan, Rick Riordan, Jim Rowe, Bert Salke, Dan Shotz, Craig Silverstein, Jonathan E. Steinberg, Jet WilkinsonCo-Executive Producer: Shernold Edwards, Andrew Miller, Joe TraczProducer: John CatronAssociate Producer: Zo NearyOutstanding Fiction SpecialThe Velveteen RabbitApple TV+ [Magic Lamp Pictures in association with Apple]Executive Producer: Michael RoseProducer: Martin PopeCo-Executive Producer / Writer: Tom BidwellCo-Producer: David Collins, Jane HawleyDirector: Jennifer PerrottAnimation Producer: Simon QuinnAnimation Director: Rick ThieleOutstanding Non-Fiction ProgramStand Up & Shout: Songs From a Philly High SchoolHBO | Max [HBO Documentary Films, Get Lifted Film Co.]Executive Producer: Nancy Abraham, Tommy Benjamin, Lisa Heller, Mike Jackson, John Legend, Sara Rodriguez, Ty StikloriusProducer / Director: Amy SchatzOutstanding Preschool Animated SeriesThe Tiny Chef ShowNickelodeonExecutive Producer: Ozlem 'Ozi' Akturk, Kristen Bell, Alex Bulkley, Corey Campodonico, Leah Gotcsik, Brian Grazer, Ron Howard, Rachel Larsen, Adam Reid, Morgan SackettCo-Executive Producer: Michael KaufmanLine Producer: Sara Crowley, Jason WyattOutstanding Children's or Young Teen Animated SeriesMarvel's Moon Girl and Devil DinosaurDisney+ [Flying Bark Productions, Cinema Gypsy Productions]Executive Producer: Laurence Fishburne, Steve Loter, Helen SuglandSupervising Producer: Rodney Clouden, Pilar FlynnProducer: Rafael ChaidezLine Producer: Laura Leganza ReynoldsAssociate Producer: Cameron CastilloCo-Producer / Story Editor: Jeffrey M. Howard, Kate KondellOutstanding Animated SpecialOrion and the DarkNetflix [DreamWorks Animation]Executive Producer: Bonnie Arnold, Walt DohrnProducer: Peter McCownLine Producer: Ashley LaidlawDirector: Sean CharmatzWriter: Charlie KaufmanAssociate Producer: Kristin BrennerOutstanding Short Form Live Action ProgramElmo and Jesse Remember Uncle Jack | GriefSesame Workshop [Sesame Workshop]Executive Producer: Melissa Dino, Sal Perez, Kay Wilson StallingsProducer: Ashmou Etossi YoungeLine Producer: Amanda YoungAssociate Producer: Fiorela GonzalesDirector: Frank CampagnaWriter: Ayub ArainOutstanding Short Form Animated ProgramOnce Upon a StudioDisney+ [Walt Disney Animation Studios]Executive Producer: Jennifer LeeProducer: Yvett Merino, Bradford SimonsenDirected / Written by: Dan Abraham, Trent CorreyOutstanding Public Service InitiativeLa Fuerza-STEM: Engaging Hispanic Families in Science Through Culturally Relevant MediaUnivisionExecutive Producer: Carlos Collazo, Teri Gonzalez Arvesu, Joy Lorenzo Kennedy, Michelle Lpez, Anthony Tassi, Jessica Mercer YoungProducer: Alexandra Barrera, Charlie Cartaya, Joy Castaeda, Cecilia Fernandez, Eduardo Forero, Cynthia Hoisington, Temis Laguna, Michelle Lpez, William Melendez, Monica Mola, Katherine Mora, Claudia Prado, Vanessa Prez Mrquez, Alexia Raynal, Rafael Rodriguez, Hernan TorresDirector: Charlie CartayaWriter: Carlos Collazo, Alejandro Reyes, Gloria Rodrguez de los Reyes, Jimena RomeroWell VersedNickelodeonExecutive Producer: Danielle DeCourcey, Jarrett Moreno, Matthew Segal, Taye Shuayb, Jessie Surovell, Mike Vainisi, Tom WernerExecutive Vice President, Nickelodeon Animation: Eryk CasemiroExecutive in Charge of Production: Kelley GardnerCo-Executive Producer: Dennis "Kosh" JacobsSupervising Producer: Gerry Mattei*HONORABLE MENTION*Sesame Workshop: Emotional Well-BeingSesame WorkshopExecutive Producer: Melissa Dino, Olexa Hewryk, Sal Perez, Kay Wilson StallingsProducer: Imogen Dentith, Courtney Hindle, Yuewen Jiang, Karyn Leibovich, Magali McDonald, Andrew Moriarty, Alia Nakashima, Justin Simonich, Ashmou YoungeLine Producer: Aimee Blackton, Amanda YoungAssociate Producer: Fiorela GonzalesDirector: Shannon Flynn, Joanna Hepworth, Andrew Moriarty, Matt VogelWriter: Ayub Arain, Samantha Berger, Liz Hara, Andrew Moriarty, Maxwell NicollOutstanding Lead Performer in a Preschool, Children's or Young Teen ProgramChristian Slater as Mulgarath - The Spiderwick ChroniclesRoku Channel [20th Television, Paramount Television Studios]Outstanding Supporting Performer in a Preschool, Children's or Young Teen ProgramAmanda Lawrence as Matron Shipley - Malory TowersBYUtv [King Bert Productions]Outstanding Younger Performer in a Preschool, Children's or Young Teen ProgramPhoenix Laroche as William - The Velveteen RabbitApple TV+ [Magic Lamp Pictures in association with Apple]Outstanding Puppetry PerformerLeslie Carrara-Rudolph as Abby Cadabby & Tango - Sesame StreetMax [Sesame Workshop]Outstanding Voice Performer in a Preschool ProgramKari Wahlgren as Granny Caterina, Ms. Poochytail & Magda - SuperkittiesDisney JuniorOutstanding Voice Performer in a Children's or Young Teen ProgramEric Bauza as Daffy Duck & Bugs Bunny - Teen Titans Go!Cartoon Network [Warner Bros. Animation]Outstanding Younger Voice Performer in a Preschool, Children's or Young Teen ProgramJacob Tremblay as Orion - Orion and the DarkNetflix [DreamWorks Animation]Outstanding Children's PersonalityMeryl Streep - Storyline OnlineStorylineOnline.net [The Story Garage]Outstanding Writing for a Children's or Young Teen Animated Series"Dancing With Myself"- Marvels Moon Girl and Devil DinosaurDisney+ [Cinema Gypsy Productions]Co-Producer and Story Editor: Kate KondellAssociate Story Editor: Halima Lucas Writer Liz HaraOutstanding Directing for a Single Camera Live Action Series"The Big City" - A Real Bugs LifeNational Geographic [Plimsoll Productions]Director: Alex RankenAND"I Accidentally Vaporize My Pre-Algebra Teacher"- Percy Jackson and the OlympiansDisney+Director: James BobinOutstanding Individual Achievement in AnimationBackground DesignMiho Tomimasu - Visual Development ArtistOrion and the Dark(Netflix [DreamWorks Animation])Philip Vose - Background DesignerMerry Little Batman(Amazon Prime Video [Amazon MGM Studios, DC Comics, Warner Bros. Animation])Character AnimationElena Najar - Animation SupervisorMerry Little Batman (Amazon Prime Video [Amazon MGM Studios, DC Comics, Warner Bros. Animation])Character DesignLesego Vorster - Character DesignerKizazi Moto: Generation Fire(Disney+)ColorLauren Zurcher - Visual Development Artist / Digimatte ArtistOrion and the Dark (Netflix [DreamWorks Animation])Production DesignGuillaume Fesquet - Art DirectorMerry Little Batman (Amazon Prime Video [Amazon MGM Studios, DC Comics, Warner Bros. Animation])StoryboardDavid Lux - Storyboard ArtistSnoopy Presents: Welcome Home, Franklin (Apple TV+ [WildBrain Studios in association with Apple])Outstanding Interactive MediaCousin Hodie Playdate -Donkey HodiePBS Kids [Fred Rogers Productions, Curious Media]Executive Producer: Ellen DohertySupervising Producer: Kristin DiQuolloIllustrator: Yolanda MartinezCreative Director: Tony MontanoHTML5 Developer: Dylan PopeInteractive Producer: Melanie Harke, Johnathan VanDerschaafOutstanding Writing for a Preschool or Children's Series"Can They Be Friends?" - Sesame StreetMax [Sesame Workshop]Head Writer: Ken ScarboroughWriter: Andrew Moriarty, Katherine SandfordOutstanding Writing for a Young Teen Series"I Accidentally Vaporize My Pre-Algebra Teacher"- Percy Jackson and the OlympiansDisney+Written for Television by: Rick Riordan, Jonathan E. SteinbergOutstanding Writing for a Preschool Animated Series"Not a Mascot" - Molly of DenaliPBS Kids [GBH Kids, Atomic Cartoons]Writer: Xunei Lance TwitchellHead Writer: Raye LankfordOutstanding Directing for a Multiple Camera Live Action Series"The Sign Language ABCs" - Sesame StreetMax [Sesame Workshop]Director: Shannon FlynnOutstanding Directing for a Preschool Animated Series"Glass" - StoryBots: Answer TimeNetflix [Netflix Animation]Director: Jeff Gill, Colin Lepper, Evan Spiridellis, Nate TheisOutstanding Directing for an Animated SeriesThe Molecular Level- Marvels Moon Girl and Devil DinosaurDisney+ [Flying Bark Productions, Cinema Gypsy Productions]Director: Samantha Suyi LeeSupervising Director: Ben JuwonoAnimation Director: Jen DickinsonOutstanding Voice Directing for an Animated SeriesMonsters at WorkDisney+Voice Director: Kevin Deters, Stevie Wermers-SkeltonOutstanding Music Direction and Composition for a Live Action ProgramPercy Jackson and the OlympiansDisney+Lead Composer: Bear McCrearyComposer: Omer Ben-Zvi, Brian Claeys, Alexandre Ct, Bailey Gordon, Jesse Hartov, Kelsey WoodsOutstanding Music Direction and Composition for an Animated ProgramFrog and ToadApple TV+ [Titmouse in association with Apple]Composer: Mark EvittsOutstanding Original Song for a Preschool Program"That's Why We Love Nature" - Sesame StreetMax [Sesame Workshop]Lyricist: Molly BoylanComposer & Lyricist: Benj Pasek, Justin PaulOutstanding Original Song for a Children's or Young Teen Program"My Sails are Set" - One PieceNetflix [Shueisha / Tomorrow Studios / Netflix]Composer & Lyricist: Sonya Belousova, Giona OstinelliOutstanding Show OpenPercy Jackson and the OlympiansDisney+ [Imaginary Forces]Animator: Christian Arnsparger, Alex Rupert, Jeffrey Su, Michael WangLead Illustrator: Jorge ArtolaArt Director / Animator: Henry ChangEditor; Lexi GunvaldsonDesigner / Animator: Merrill HallThemes by: Bear McCrearyDesigner: Brandon SavoyCreative Director: Karin Fong, Tosh KodamaIllustrator: Ruthy Kim, Ella LeeOutstanding Cinematography for a Single Camera Live Action ProgramA Real Bug's LifeNational Geographic [Plimsoll Productions]Photography: Robert Hollingworth, Alex Jones, Nathan SmallDirector of Photography: Simon de GlanvilleOutstanding Editing for a Single Camera Live Action ProgramPercy Jackson and the OlympiansDisney+Editor: Colleen Rafferty, Stewart Schill, Curtis ThurberOutstanding Editing for a Multiple Camera Live Action ProgramAll-Round ChampionBYUtv [marblemedia]Editor: Wyatt Chinn, Marc Fourreau, Craig Passfield, Lindsay RagoneOutstanding Editing for a Preschool Animated ProgramStoryBots: Answer TimeNetflix [Netflix Animation]Editor: Nico Colaleo, Rachael Rusakoff, Evan SpiridellisAnimatic Editor: Stella LightheartOutstanding Editing for an Animated ProgramOrion and the DarkNetflix [DreamWorks Animation]Editor: Kevin Sukho LeeOutstanding Sound Mixing and Sound Editing for a Live Action ProgramA Real Bug's LifeNational Geographic [Plimsoll Productions]Re-Recording Mixe:r Brian MoseleySound Editor: David YappFoley Artist: Jonathon CawteOutstanding Sound Mixing and Sound Editing for a Preschool Animated ProgramStar Wars: Young Jedi AdventuresDisney+ [Lucasfilm Ltd.]Sound Designer: Heather Olsen, MPSERe-Recording Mixer: Fil Brown, Melissa EllisDialogue Editor: Robbi Smith, MPSEFoley Artist: John J LampinenFoley Mixer: David Bonilla, MPSEOutstanding Sound Mixing and Sound Editing for an Animated ProgramOrion and the DarkNetflix [DreamWorks Animation]Sound Designer: Jessey Drake, Jeff Halbert, Marc SchmidtRe-Recording Mixer: D.J. LynchSupervising Music Editor: Rob McIntyreSound Editor: Laria DeLeon, Matt Festle, Cat Gensler, Grace StenslandDialogue Editor: Jason OliverFoley Artist: Vincent Deng, Laura MaciusFoley Mixer: Roberto D. AlegriaOutstanding Lighting, Camera and Technical ArtsA Real Bug's LifeNational Geographic [Plimsoll Productions]Camera Technician: Josh Kingsley-Jones, Tim WatsonOutstanding Visual Effects for a Live Action ProgramPercy Jackson and the OlympiansDisney+ [ILM, Raynault VFX, MPC, Storm, M.A.R.Z., Hybride]Visual Effects Coordinator: Yasmin Blake, Jason Neisewander, Emma OrnerVisual Effects Senior Coordinator: Derrek Brajkovich-HornVirtual Production Supervisor: Sonia ContrerasVisual Effects Head of Production: Jacinthe CtExecutive Visual Effects Art Director Yanick Dusseault Senior VFX Supervisor Erik HenryExecutive Visual Effects Producer: Adele Jones-VenablesAnimation Supervisor: Benoit MoranneAssociate VFX Supervisor: Donny RauschExecutive Visual Effects Supervisor: Mathieu RaynaultSenior VFX Producer: Matt RobkenVisual Effects Editor: Anthony SafariikVisual Effects On Set Supervisor: Rick SanderAssociate Visual Effects Supervisor: Daniel SchmidCG Supervisor: Philippe ThrouxVFX Supervisor: Justin Bunt, Jose Burgos, Roman Schmidt, Jeff WhiteVFX Producer: Katherine ChambersSFX Supervisor: Joel WhistVisual Effects Supervisor: Luca Bonatti, Simon Marinof, Espen Nordahl, Sylvain ThrouxVisual Effects Producer Mlanie Carignan, Valrie Clment, Stacey MacDonald, Richard Martin, Jessica-Rose SmithAssociate Visual Effects Producer: Amanda Newby Fitzgerald, Shawn SmolenskyOutstanding Casting for a Live Action ProgramPercy Jackson and the OlympiansDisney+Casting by: Candice Elzinga, CSACasting by: Denise Chamian, CSA, Jordana Sapiurka, CSAOutstanding Casting for an Animated ProgramGremlins: Secrets of The MogwaiMax [Warner Bros. Animation]Casting by: Agnes Kim, Sarah NoonanOutstanding Art Direction/Set Decoration/ Scenic Design for a Single Camera ProgramThe Spiderwick ChroniclesRoku Channel [20th Television, Paramount Television Studios]Supervising Art Director: Andrew LiArt Director: Michael CorradoProduction Designer: Elena AlbaneseSet Decorator: Ide FoyleOutstanding Art Direction/Set Decoration/ Scenic Design for a Multiple Camera ProgramBunk'dDisney ChannelProduction Designer: Kelly HoganSet Decorator: Britt WoodsOutstanding Costume Design/StylingFraggle Rock: Back to the RockApple TV+ [The Jim Henson Company in association with Apple]Costumer: Gina Bennett, Terri Grant, Kim LennoxSenior Designer / Fabricator: Robert BennettCreative Supervisor / Designer: Pete Brooke, Jason WeberAnimatronics Supervisor: John CriswellOn-Set Wrangling Supervisor: Alex "Jrgen" FurgusonPuppet Builder: Joel Gennari, Laura Manns, Anney Ozar, Tina Roland, Sierra SchoeningOn-Set Puppet Wrangler: Dusty HagerudStitcher: Sue HlavenkaWrangler / Fabricator: Kristi Ann Holt, Dina MeschkuleitCreature Shop Supervisor / Costume Designer: Scott JohnsonFabricator / Animatronic Mechanic: Peter KominekPuppet Build Supervisor / Lead Fabricator: Rollie KrewsonProp Master: Kesar LacroixOn-Set Animatronic Lead: Jason WardLead Animatronic Mechanic: Leo WieserOutstanding Hairstyling and MakeupThe Santa ClausesDisney+ [20th Television, Disney Branded Television]Special Effects Makeup Department Head: Howard BergerSpecial Makeup Effects Co-Department Head: Erica PreusSpecial Effects Key Makeup Artist: Scott StoddardKey Hairstylist: Nina AdadoHairstylist: Taylor Bennett, Morgan Ferrando, Patricia Pineda Lansingh, Shay Sanford FongKey Makeup Artist: Stephanie Kae PanekMakeup Department Head: Kathleen FreemanHair Department Head: Anissa SalazarOutstanding Stunt Coordination for a Live Action ProgramOne PieceNetflix [Shueisha / Tomorrow Studios / Netflix]Supervising Stunt Coordinator: Franz SpilhausStunt Coordinator: Darrell McLeanOutstanding ChoreographyHigh School Musical: The Musical: The SeriesDisney+Choreographer: Zach WoodleeSource: NATAS Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.

Ready to blast some bugs? Neill Blomkamp (District 9, Gran Turismo) is set to write and direct a feature adaptation of the Robert A. Heinlein sci-fi novel Starship Troopers for Columbia Pictures, according to The Hollywood Reporter.The classic story follows an interstellar war between Earth and an infestation of bug-like aliens and digs into military life and the concept of earning voting rights through the acts of service. Most known for its campy 1997 feature adaptation from Paul Verhoeven (Robocop, Total Recall), the story has also been accused of espousing fascist ideology. The upcoming project will not be a Verhoeven remake.Blomkamp will produce alongside creative partner Terri Tatchell. Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Leading VFX and animation studio Framestore had the recent good fortune of working from previs to postvis to final on Jon M. Chus award-winning hit musical adventure, Wicked. On the film, Framestore Pre-Production Services devised the camera angles and movements for sequences involving Nessarose Thropps levitating wheelchair, Elphaba taking flight, and Doctor Dillamond.The chorography is similar, from action scenes through to musical numbers, notes Christopher McDonald, Visualization Supervisor, Framestore. A great starting point is to look at storyboards to get a representation of whether its a set or location and then block out the action literally from a top-down perspective. Thats a strong basis because its always something you can refer back to once youve got that basic blocking in place. On Defying Gravity, in particular, we worked quite closely with the stunt team, which had a bunch of tests that were done with the various rigs. They had all of these concepts for movements that Elphaba was going to perform at certain points during the song. Then it was a case of figuring out how do we fit this in? How is it going to look? How are we going to shoot it? Those are the building blocks for scenes like that.Previs is about imagining the possibilities. The challenge with previs in a lot of cases is its that first swing of ideas, remarks McDonald. What you hope is at every point its going to progress. Previs is informative to the point where you can get everyone on the same page as to where its going to go from there. Seeing the stuff that came through from the postvis, it was rewarding to see how those ideas evolved into what they eventually became.Postvis revolves around getting the best out of what has already been established. Its like, So they shot this. How are we going to make this work? laughs Maike Fiene, Visualization Supervisor, Framestore. This is where it comes in handy to see all of the previs work and to have a notion of, These were the ideas that we discussed. Because quite often, films are still in their early stages of development when it comes to environments, set extensions, or characters. When the postvis starts, nothing is set and final. There is still some room to go, How can we improve from what has been done in previs and work together alongside the film team to see in which direction theyre developing things? You know how long things are going to be. Although, that being said, there were a lot of transition shots and shot extensions that were explored in postvis. For instance, the transition from the Ozdust Party through the ceiling with the fish and then onto Shiz University. There was a bit more of that kind of creative figuring out of what that might look like. In the opening sequence, Glinda is on the bubble platform and starts to look back at the school. The camera pushes past her, and you transition into this river, underwater environment. They played it nicely with the music as well because the sound cue was coming a bit before the visual transition at that point, so you knew something was going on. There was this wonder of awe of Where are we going next? The creative and technical processes were streamlined by doing everything in-house. What was useful with it being so end to end at Framestore, between the art department right through to the final visual effects, is we are able to stay in touch with everybody at every stage, states McDonald. Doctor Dillamond interacts with a lot of specific tools, like a projector and a teapot contraption. While we were doing the previs, Framestore animation is also figuring out how is he going to interact with the world and use these various contraptions. We can see those animation tests that theyre working on and incorporate them into our previs and postvis. It all weaves and knits together. An animation test might be great but then to be able to see it in the context of a shot or scene gives it a different dimension. At least once a week the postvis team communicated with the animation and visual effects supervisors. Were seeing where things are developing and where we can share assets to make sure that were not showing something completely different to the director as to where the final is headed, remarks Fiene. For previs as well as postvis, there are certain technical limitations that are never going to push into the realm of looking like the final stuff. There is a point where it doesnt become efficient to continue developing assets. Having massive practical sets were extremely helpful, especially the Plaza of Emerald City and Shiz University. Trying to build on top of those felt like extending a painting, states Fiene. It was lovely to have that starting point.Unlike in an action scene, a musical numbers duration is determined by the length of song. Its a different type of challenge, states Fiene. At least it gives you those couple of points and notes that you know youre going to have to hit. Essentially, it makes your guesswork shorter. Even for the previs, there was a temp audio to work with already that put it into the ballpark of the length of the musical number. Throughout the postvis, we always had temp mock-ups of songs to accommodate the edits.One of the first sequences that Framestore worked on was Nessarose Thropps levitating wheelchair. There were a lot of conversations early on about how they were going to depict the gravity aspect, remarks McDonald. It was about having it feel grounded, not mystical. This is this first time that youre seeing those powers in that way, so its about setting the tone. The weight of the wheelchair had to be taken into consideration. There were quite a few people involved, from animation to the director and visual effects supervisor, all trying to wrap their minds around making that work, recalls Fiene. It came down to tests. Lets try something similar to the previs and see if it hits the right tone. Is it too much? It was critical that it shouldnt feel magical. Its gravity but in the other direction! She has not developed her full powers at that point so theres a certain limitation to how high everything reaches. The wheelchair is floating. Its not stable or frozen in any way. Theres always some sort of movement because its at a fine balance level at that point. Elphaba takes flight for the first time during the Defying Gravity scene. According to Fiene, You have an idea of what style of movie this is going to be. With previs and postvis, its about iterating quickly on ideas, testing them out and seeing if they land. With Elphaba flying, there were all kinds of different poses with the broomstick because there are numerous moments where shes holding it and levitating. There is also traditional riding a broomstick stuff. We iterated on different poses and various styles of movement. Its about what fits with what youre trying to do in a scene and moment. In the meetings, director Jon M. Chu would stress being respectful to the source material. He didnt want to do anything that would deviate in a strange direction and possibly alienate the fans of the musical. Defying Gravity was shot entirely against bluescreen. There was little reference for how big the loops should be that shes actually flying, how much do we stick to the camera and her screen position, what are the physical limitations of shooting this, and how do you make it work on the big screen? notes Fiene. With the layout of Emerald City coming together, there was a bit of discovery to be done. We needed to determine where do you have a good moment or angle for a big panoramic view to show off the city, but also her progression throughout the sequence. The further you get into the song, the more epic the shots get, and it becomes more like that action sequence where you can see her taking control over her flight path and embracing her powers. At the end, shes spiraling, twirling, and looping over backwards. There are small movements you can do while filming this, but how do you scale that into this huge environment and make that backdrop with the broom going back down onto the Emerald City? What feels crazy enough at that point?Increasing Framestores workload on the project is that Wicked has been divided into two feature films. It is a huge scope across both movies and were working on them back-to-back, states Fiene. We postvis somewhere around 900 plus shots in the end for the first movie, which is a good chunk of everything from small window views to huge numbers of animals plus transition shots. It required lots of different environments, various effects, capes, broomsticks, and set extensions.As usual on a project like this, the major challenges are always about exploring ideas. Thats the biggest thing with previs because what works in a storyboard and looks great doesnt necessarily work once you start getting into the specifics of the scene or story, remarks McDonald. You have to iterate on the ideas and bounce back and forth with visual effects, stunts, and everybody else. You work with all of them to solve those problems. Seeing those scenes come together was incredibly rewarding. Trevor Hogg is a freelance video editor and writer best known for composing in-depth filmmaker and movie profiles for VFX Voice, Animation Magazine, and British Cinematographer.

The voice of Bugs Bunny, Daffy Duck and Porky Pig (among countless others), Eric Bauza, will host this Saturdays 3rd Annual Childrens & FamilyEmmy Awards (CAFE). Now in its third year, this standalone competition spotlights the pinnacle of creativity and innovation in childrens entertainment. The ceremony will be streamed live onwatch.theemmys.tvand through The Emmysapps (apps.theemmys.tv). Note that the Creative Arts CAFE ceremony recognizing excellence in behind-the-scenes and technical achievements, will take place at 8:00 PM PT and will not have a host.The nomination list is incredibly extensive; it includes I Am Groot, Marvels Moon Girl and Devil Dinosaur, Orion and the Dark, Snoopy Presents: One-of-a-Kind Marcie, and The Tiny Chef Show. Announced last December, the animation, visual effects and related nominees can be found on AWN here. Puppeteer and actorDave Goetz(The Muppets) will present the Lifetime Achievement Award to previously announced honoree, Emmy Award-winning performerFran Brill. Additional presenters for CAFE and the Creative Arts CAFE ceremonies include:Ella Bright(Darrell Rivers inMalory Towers),Noah Cottrell(Simon inThe Spiderwick Chronicles),Lucia Cunningham(Jessica Williams inJessicas Big Little World),Terrence Little Gardenhigh (voice of John Patrick Pat Patterson inFright Krewe),Duff Goldman(host,Kids Baking Championship),Jack Griffo(Max inThe Thundermans Return),Mykal-Michelle Harris(as Alice Baxter onRavens Home),Paul Walter Hauser(voice of Dark inOrion and the Dark),Leah Sava Jeffries(Annabeth Chase inPercy Jackson and the Olympians),Kiersten Kelly(voice of Brooklyn inJurassic World: Chaos Theory),Donna Kimball(Emmy nominee performer "Mokey Fraggle," fromFraggle Rock: Back to the Rock),Kira Kosarin(Phoebe Thunderman inThe Thundermans Return),Amanda Lawrence(Matron Shipley onMalory Towers),Amanda Martinez(voice of Abuela inRosie Rules),Arianna McDonald(Snoopy Presents: One-of-a-KindMarcie),Bobby Moynihan(FormerSaturday Night Livecast member, voice of Bobby Boots inPupstruction),Walker Scobell(Percy Jackson inPercy Jackson and the Olympians),Aryan Simhadri(Grover Underwood inPercy Jackson and the Olympians),Cree Summer(voice of Lizard & DeeDee inSpirit Rangers),John Tartaglia(Emmy nominee "Sprocket the Dog" (Fraggle Rock: Back to the Rock),Jacob Tremblay(voice of Orion inOrion and the Dark) andIzaac Wang(Sam Wing inGremlins: Secrets of the Mogwai).Nominees and guests expected to attend the ceremonies includeBob Bergen(voice of Porky Pig in Looney Tunes Cartoons),Leslie Carrara-Rudolph(Abby Cadabby & Tango onSesame Street),Adam Copeland(Ares onPercy Jackson and the Olympians, WWE wrestler Edge),Ben Feldman (voice of Tylor Tuskmon inMonsters At Work),Eric Jacobson(Bert, Oscar the Grouch & Grover onSesame Street),Elizabeth Mitchell(Carol Calvin/Mrs. Claus onThe Santa Clauses),Maximilian Lee Piazza(One Piece),Sarah Rafferty(Donna inSuits; Katherine in My Life with the Walter Boys),David Rudman(Cookie Monster & Baby Bear onSesame Street),Eric Stonestreet(Cameron Tucker onModern Family, Magnus Antas aka The Mad Santa inThe Santa Clauses),and Kari Wahlgren(voices of Magda, Granny Catherine, Whiskers inSuperkitties). Bauza is a veteran Looney Tunes voice actor who most recently earned him two Childrens and Family Emmy Awards for Outstanding Voice Performance in an Animated Program first in 2022 for his performance of Bugs Bunny in Looney Tunes Cartoons and again in 2023 for his performances of Bugs Bunny, Daffy Duck, Tweety, and Marvin the Martian inBugs Bunny Builders. Bauza is the voice of both Porky Pig and Daffy Duck inThe Day The Earth Blew Up: A Looney Tunes Moviecoming out in theaters on March 14, 2025. Bauza began his career in animation as a character designer working with production studios in Hollywood. It was this introduction to the animation world that led him to a successful career as one of the most in-demand voiceover artists in town.He received Emmyand Annie Award nominations for his work as the title character inThe Adventures of Puss in BootsandMuppet Babiesas well as for Bugs Bunny and Daffy Duck in Looney Tunes Cartoons. His other television credits includeTiny Toons Looniversity,Unikitty,Archibalds Next Big Thing,The Rocketeer,Ballmastrz: 9009,Rise of the Teenage Mutant Turtles,Star vs. The Forces of Evil,Breadwinners,Uncle Grandpa,Atomic Puppet,The Powerpuff Girls,The Fairly Odd Parents,Wabbit: A Looney Tunes Production,Ultimate Spider-Man,Teenage Mutant Ninja Turtles,Guardians of the Galaxy,Transformers: Robots in Disguise,Sanjay and Craig,Mighty Magiswordsand the voice of Fozzie Bear, the big-hearted comedian, in Disney Juniors reimaginedMuppet Babiestelevision series.On the big screen, Bauza voiced Daffy Duck, Porky Pig, Foghorn Leghorn, Elmer Fudd, and Marvin the Martian inSpace Jam: A New Legacy. He has voiced characters inThe Book of LifeandThe SpongeBob Movie: Sponge out of Water, as well as Woody Woodpecker in theWoody Woodpeckerfeature film for Universal. He has also voiced characters in commercials such as Lucky the Leprechaun for Lucky Charms cereal, Trix Rabbit for Trix cereal and Marvin the Martian for Nike and Walmart.Hes been vewwy, vewwy busy!Source: NATAS Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.

Vicon has announced its Markerless Motion Capture solution will launch next week at the Game Developer Conference (GDC) in San Francisco, running March 19-21. Vicon Markerless for VFX will be available March 19. You can find them at Booth #S335.The launch follows an immersive exhibition of the Vicon Markerless prototype at SIGGRAPH 2023. The tech was beta-tested via Vicon's VFX Pioneer Program, through which the VFX and virtual production communities had the opportunity to discover, understand, and define how markerless motion capture could be applied in their industries. Beta participants included ILM, Gearbox Entertainment, Dimension | DNEG360, Dreamscape Immersive, and Framestore.Vicon Markerless allows users to instantly visualize ideas with the Vanguard markerless motion-tracking camera and new software incorporating advanced computer vision, machine learning, and algorithms to capture human performance without markers.Vicons Markerless Motion Capture is like magic providing Gearbox incredible flexibility and speed in the development and storytelling of our games, said Randy Pitchford, founder and president of Gearbox Entertainment. Anyone of us at Gearbox, including me, can jump into our Vicon Markerless Motion Capture volume even in our street clothes to quickly get the data we need as we work to bring exciting potential future projects to life, including Borderlands.Vicon Markerless, developed over several years with meticulous attention to detail, sets a new standard for motion capture across games, film, episodic TV and immersive experiences, said Vicon CEO Imogen O'Connor. It enables VFX teams to rapidly refine early creative ideas and iterations marker-free, and offers a seamless transition to optical motion capture as needed. Markerless motion capture opens up a world of possibilities for the VFX industry and delivers greater efficiency in creating innovative entertainment.Vicon Markerless reduces time to visualization, enabling rapid iteration from prototyping and previsualization to real-time animation even with props. Creative teams can quickly explore ideas marker-free and transition efficiently to full optical motion capture when required.The new markerless system from Vicon has significantly accelerated our creative process, enabling us to reach results faster, said Ben Kolakovic, Virtual Production Operations Manager at ILM, a beta participant. We now receive mocap data much more quickly than before, which allows our artists to experiment with new ideas in a fraction of the time. This streamlined workflow not only fosters creativity but also enhances our ability to iterate efficiently and fine-tune performances.Source: Vicon Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Rodeo FXhas shared with AWN and VFXWorld a VFX breakdown reel and numerous before/after images highlighting some of their great work on HBOs sci-fi thriller Dune prequel series, Dune: Prophecy. With a crew of 450, the studio delivered 421 shots, across 44 sequence on the inaugural season.Recently renewed for Season 2, the show is set 10,000 years before the ascension of Paul Atreides. It follows two Harkonnen sisters as they combat forces that threaten the future of humankind and establish the fabled sect that will become known as the Bene Gesserit.Dune: Prophecyis inspired by the novel Sisterhood of Dune by Brian Herbert and Kevin J. Anderson.After working on Dune and Dune: Part Two, Rodeo FX headed back once more to Frank Herberts universe for HBOs prequel series, Dune: Prophecy. The teams work included creating a full-CG environment of the Imperial Palace on Kaitain, featuring opulent gardens, grand monuments, and a vast ocean backdrop. Inspired by Petros Koublis' photography and the Mediterranean landscape, they developed custom vegetation, procedural shaders, and detailed assets to bring the world to life.The workflow began with concept designs provided by the client, which were further refined by Rodeo FXs in-house art department before the generalist team segmented the environment into distinct sub-zones. Real-world set elements were then seamlessly integrated for continuity with live-action plates.Advanced techniques, including water simulations, procedural ocean tools, and extensive instancing, were used for added realism. Thoughtful lighting design, including physical sky models and volumetric haze, added depth. This intricate and ambitious environment not only serves as the backdrop for key moments in Dune: Prophecy but also amply illustrates the artistry and technical expertise of the Rodeo FX team; their work on Kaitain earned a nomination for Outstanding Environment in an Episode at the 2025 VES Awards. Source: Rodeo FX Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.

The Cinesite Group, one of the biggest independent visual effects and animation studios, has just announced it has secured a new, long-term funding package of US$215 million to support ongoing operations and strategic expansion. The move underscores the financiers financial commitment to the company's ambitions and confidence in the entertainment sector.According to the accompany statement, the funding package should provide Cinesite the stability to overcome challenges posed by recent industry disruption that has affected the entire sector. The industry will now be considering how best to work with its supply chain to identify, develop, test and validate solutions that deliver more sustainable and robust collaboration between vendors, studios, and filmmakers. Simultaneously, the Cinesite group will continue to expand its production capabilities across animation, visual effects, immersive content and motion capture, while leveraging cutting-edge technologies and exploring the potential of generative AI.Recent closers of VFX and animation powerhouse Technicolor and Jellyfish Pictures underscore the industrys volatility, coming on the heels of disruptive events including recent LA wildfires as well as the Hollywood strikes. The Cinesite group notes it retained as many of its highly skilled artists and technical talent as possible, ensuring its studio network was ready to seamlessly resume production as soon as the strikes concluded. This commitment to talent, while impacting the companys short-term financials, was crucial to maintaining quality and skilled expertise, allowing the company to continue servicing client projects without further disruption.The financial package also means Cinesite is in a position to capitalize on the growing demand for high-quality entertainment content worldwide while considering strategic acquisitions and partnerships to achieve its medium- and longer-term objectives. In addition to launching an immersive division last year, the company invested in The Imaginarium Studios in 2023, purchased a majority stake in FX3X and acquired the Canadian studios Squeeze and LAtelier Animation in 2022.According to Cinesite Group CEO Antony Hunt, We have served this industry for over 30 years and in that time we have seen many changes; our longevity comes in part from our ability to adapt. In the next phase of our business you can expect to see us taking advantage of opportunities thrown up by the disruption of the past couple of years. Thanks to the renewed commitment of our banks, shareholders and other stakeholders and the ongoing confidence our clients place in our services, we will continue to produce exceptional work for audiences, while fuelling innovation and studio growth.NatWest Corporate Bank led the financing alongside the studios long-standing relationship banks Barclays and Santander. Its shareholders, including family office Gryphion, supported the overall package of senior and junior debt and equity lines.This funding package underscores the conviction of Cinesites shareholders and banks in the industry's recovery and the continued demand for high-quality visual narratives, said William Ford, Chief Investment Officer at family office Gryphion. Cinesite's strategic market position and growth potential, combined with its ability to consistently produce top-tier entertainment during unprecedented times, made renewing our support a straightforward choice. We are confident in Cinesites leadership and their ability to thrive as the broader industry restores its equilibrium.Source: Cinesite Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.

Jellyfish Pictures has issued an official statement following its shocking closure this week, according to Animation Xpress.Like so many other companies operating across the VFX, animation and wider creative industries, weve been battling hard in the face of strong headwinds over the past 12 months, a Jellyfish Pictures spokesperson shared. The long-tail impact of Covid, coupled with rising costs and the fall-out from the writer and actor strikes, have had a profound effect on our business.The statement continued, Over recent months, weve been working closely with our key stakeholders to find a path forward, including exploring all options for sale and investment, with the aim of putting in place a strong financial platform upon which we can build. While we continue to engage in these discussions and explore our options, we have today taken legal steps to protect the position of the business while we strive to find a way forward.The studio reportedly began experiencing financial distress last year following a downturn in their slate of animation projects in production. While the company states the unexpected shutdown is temporary, there is no current information on when operations will recommence. Workers supposedly will still be paid through March. Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Apple TV+ has revealed a first look at the live action/CGI blended series Jane, which will return for Season 3 on April 18. The mission-driven series for kids and families is inspired by the work of ethologist and conservationist Dr. Jane Goodall, founder of the Jane Goodall Institute and a United Nations Messenger of Peace.Ava Louise Murchison (Reacher) stars as Jane Garcia, a nine-year-old budding environmentalist on a quest to save endangered animals. Using her powerful imagination, Jane takes her best friends David, played by Mason Blomberg (Shameless), and Greybeard the chimpanzee on epic adventures to help protect wild animals all around the world.Im excited for the new adventures to come on Jane, and I was delighted to make a guest appearance this season, said Goodall. Its been amazing seeing this project come to life and Im moved that my lifelong work with animals and the natural world has inspired it. Its wonderful to see young people, like Jane Garcia and members of Jane Goodalls Roots & Shoots around the world, embracing their curiosity, compassion, and determination to make a difference for our planet. After all, they are the future, and with knowledge and empathy, they can help create a better world for all living things. I hope it will spark even more positive action in the hearts of children everywhere. From J.J. Johnson (Dino Dana, Endlings, Ghostwriter), Sinking Ship Entertainment, and the Jane Goodall Institute, the series is executive produced by Johnson, Christin Simms, Blair Powers, Matt Bishop, and the Jane Goodall Institutes Andria Teather. Sinking Ship handles the VFX on the series, while animation production is provided by Chris and Jennifer Daintys Dainty Productions.Source: Apple TV+ Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Jon Favreau (The Mandalorian, The Lion King) is set to pen and produce an Oswald the Lucky Rabbit animation/live action hybrid series for Disney+, from Walt Disney Studios.Oswald, an early Disney cartoon who bears a close resemblance to Mickey Mouse, was also the catalyst for the creation of the beloved character; Universal acquired the rights to Oswald in 1928, spurring Disney to create his rodent replacement. Walt Disney Co. regained the rabbits trademark in 2006, although it eventually entered the public domain in 2023.The lucky character has not returned to Disney unscathed, however. The upcoming Oswald Down the Rabbit Hole horror flick promises to take the franchise in an entirely different - and creepy- direction. Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Chris Sanders returns as the voice of the famed, fluffy renegade Stitch in Disneys live-action/CGI hybridcomedy adventure, Lilo & Stitch. And we finally get a glimpse of our favorite, quirky Ohana back together!Disneys reimagining of the original, 2002 animated classic tells the story of an unlikely familial bond formed by a lonely Hawaiian girl named Lilo and a cuddly, fugitive alien named Stitch, who is genetically engineered by a mad scientist to wreak havoc in the universe.The film stars Sydney Elizebeth Agudong, Billy Magnussen, Tia Carrere, Hannah Waddingham, and Chris Sanders, with Courtney B. Vance, and Zach Galifianakis, and introduces Maia Kealoha.Lilo & Stitchis directed by Dean Fleischer Camp (Marcel the Shell with Shoes On) from a script penned by Chris Kekaniokalani Bright and Mike Van Waes. Dan Lin and Jonathan Eirich, p.g.a. are producing, with Tom Peitzman, Ryan Halprin, Louie Provost, and Thomas Schumacher serving as executive producers.The adaptations creative team includes production designer Todd Cherniawsky (Obi-Wan Kenobi, Star Trek: Picard) and visual effects supervisor Craig Hammack (Black Panther: Wakanda Forever, Black Panther, Tomorrowland). VFX on the film are being handled by Clear Angle Studios, Day For Nite, DNEG, DNEG/Redefine, ILM, ILM Stagecraft, Lola VFX, Luma Pictures, MPC, Rodeo FX, SDFX Studios, and Sony Pictures Imageworks.Lilo & Stitchhits theaters May 23, 2025.Source: Walt Disney Studios Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.

HBO has released the official trailer for The Last of Us Season 2 during a recent panel at South by Southwest (SXSW). The seven-episode second season will debut April 13, and also stream on Max.In Season 2, five years have passed since the events of Season 1. Joel and Ellie are drawn into conflict with each other and a world even more dangerous and unpredictable than the one they left behind.Returning cast includes Pedro Pascal as Joel; Bella Ramsey as Ellie; Gabriel Luna as Tommy; and Rutina Wesley as Maria. Newcomers include Kaitlyn Dever as Abby; Isabela Merced as Dina; Young Mazino as Jesse; Ariela Barer as Mel; Tati Gabrielle as Nora; Spencer Lord as Owen; Danny Ramirez as Manny; and Jeffrey Wright as Isaac. Catherine OHara guest stars.The Last of Us, based on the Naughty Dog video game franchise for PlayStation, is written and executive produced by Craig Mazin and Druckmann. The series is a co-production with Sony Pictures Television and is also executive produced by Carolyn Strauss, Jacqueline Lesko, Cecil OConnor, Asad Qizilbash, Carter Swan, and Evan Wells. Halley Gross acts as writer and co-executive producer. Production companies include PlayStation Productions, Word Games, Mighty Mint, and Naughty Dog.VFX vendors on Season 2 include Clear Angle Studios, Digital Domain, and DNEG.Source: HBO Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

It seems the fall of Technicolor Creative Studios is just the start. Without warning, Jellyfish Pictures (Dog Man, Spirit: Untamed) has ceased all global operations following investor-related issues, reports Animation Xpress. Email attempts to contact the company last night bounced back as undeliverable.The studio allegedly began experiencing financial distress last year, following a downturn in their number of animated projects. While the spontaneous shutdown is reportedly temporary, there is no current information on when operations will recommence. Workers reportedly will still be paid through March.The move is even more troubling given the studios recent joyful expansions. Jellyfish established VFX operations in Toronto, Canada in 2024, which followed its Mumbai, India studio launch in 2023.Its an exciting time for Jellyfish Pictures as we continue to grow our talented team of creatives and further expand our operations globally, CEO David Patton stated in 2024. We opened our 200-seat Mumbai studio at the end of last year and believe now is the right time for us to establish a strong presence in the Canadian market.The studio also bolstered its VFX division last year with ILM and NVIX alum Jamie Wood as Head of Compositing and Peter Seager as Head of CG.Rumors have been swirling on Reddit since late last year that the company was headed for disaster, with claims of massive layoffs and rampant animation team mismanagement. The whispers were largely unsubstantiated and unreported - until now.Jellyfish Pictures VFX credits include critically acclaimed feature films The Creator and Asteroid City. Its television projects include The Gentlemen, Constellation, the Oscar-winning live-action short The Wonderful Story of Henry Sugar, Ellen Kuras Lee, Netflixs Kaos, and the fantasy adventure series Nautilus. Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Justin Lin (Fast & Furious) is set to directBRZRKR, the upcoming Netflix feature adaptation of the popular Keanu Reeves comic. Mattson Tomlin (The Batman 2) penned the script.Reeves stars in the brutally epic saga, which follows an immortal warriors 80,000-year fight through the ages. The man known only as B" is half-mortal and half-god, cursed and compelled to violence even at the sacrifice of his sanity.A Netflix anime series, also currently in development, will further expand the BRZRKR universe by exploring different elements of the story. In the series, Reeves will reprise his lead role of B from the film and voice the character.Reeves produces alongside Stephen Christy for Boom! Studios, Stephen Hamel of Company Films, and Ross Richie. Lin also produces via his Perfect Storm banner. Adam Yoelin executive produces for Boom! Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Rodeo FX has shared with AWN and VFXWorld a VFX breakdown reel highlighting some of their great work on Paramounts recent comedy adventure, Sonic the Hedgehog 3. In the film, Sonic, Knuckles, and Tails reunite against a powerful new adversary, Shadow, an all-new villain with powers unlike anything they have faced before. And yes, Keanu Reeves joins the franchise as Shadow.Jeff Fowler directs; Jim Carrey, Ben Schwartz, James Marsden, Tika Sumpter, Idris Elba, Colleen OShaughnessey, Natasha Rothwell, Shemar Moore, Adam Pally, Lee Majdoub, James Wolk and newcomers Alyla Browne and Krysten Ritter star.Rodeo FX took on the challenge of bringing Sonic 3 to life, animating Sonic, Tails, Knuckles, and their formidable new adversary, Shadow. With plenty of high-speed action and destruction, the film made ample use of the studios visual effects expertise, which included the creation of a sparking Test Track chamber and a massive, all-consuming black hole.All told, the studio delivered 265 shots across 10 sequences, generating 54 digital assets with a crew of 470.Enjoy Rodeo FXs work:You can also check out the trailer:Critical in a live-action / animated hybrid film like Sonic 3 is the realistic depiction of digital characters within live-action scenes. Sonic, Tails, and Knuckles needed to maintain their signature cartoony expressiveness while seamlessly integrating into the live-action world. The team carefully refined animation rules, from the proportions of their heads and eyes to the nuances of their brightly colored fur, which posed unique challenges in lighting and compositing especially in darker sequences. Sonics movement focused on energetic expressions, while Shadows presence required controlled, stoic animation, highlighting the diverse skill set of the team.One of the films most complex sequences involved the destruction of the Test Track Chamber. As Eggman (Jim Carrey) and Shadow (Keanu Reeves) triggered a black hole, everything from tiny pebbles to an entire mountain was pulled into its gravitational force. Using Houdini Solaris and Rodeo FXs USD pipeline, the team simulated destruction with extreme detail, accounting for various material properties like concrete, metal, and vegetation. The black holes final effect saw an entire mountainside collapse, with secondary simulations of dust, debris, and vegetation adding scale and realism. This project stands as one of Rodeo FXs most ambitious animation achievements, with the four main characters appearing throughout the film, displaying a full spectrum of emotions fear, joy, anger, and determination.Rodeo FX notes that whether its Tails heartfelt warmth or Shadows chilling intensity, each character adds depth to the story, and the team is immensely proud of the final result.Source: Rodeo FX Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.

HandCraft Pro, a new tool that allows users to capture real-time hand motion with a webcam and bake directly onto characters in Maya, has been released by animator Tal Minks.Using advanced machine learning algorithms through a Mediapipe integration, the tool tracks hand movement with accuracy, providing clean, ready-to-edit curves. Minks, who developed the system, says that HandCraft Pro is ideal for both keyframe animators who need to block in hand poses quickly, and for mocap productions with artists looking to refine hand motion during cleanup. Artists can edit poses in real-time during the capture process with hand motions.HandCraft Pro is available now to purchase for both freelancers and studios.Check out a tutorial:Source: HandCraft Pro Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Dust off your robes and grab your wands, Harry Potter is coming to the Windy City! Opening on April 10, the Warner Bros. Discovery-owned Harry Potter Shop Chicago, located at 676 N Michigan Avenue, will offer multiple themed areas, exclusive merchandise, props, and a Butterbeer Bar.We are delighted to be bringing this store to Chicagoland, said Karl Durrant, Senior Vice President, Warner Bros. Discovery Retail Experiences. With the incredible success of the New York flagship store, bringing the Harry Potter world to life on Michigan Avenue was an absolute must. From the shop's design to exclusive merchandise and a speakeasy-inspired Butterbeer Bar, Harry Potter Shop Chicago is infused with nods to the city's rich history and unique culture, giving fans a one-of-a-kind experience and unforgettable connection to the wizarding world.The stores interior is influenced by the themes of resilience and rebirth seen in Harry Potter and the Goblet of Fire, featuring:A moving mermaid-stained glass window.Suspended broomsticks on fire light up the store as a nod to the dragon challenge.The water trial's Golden Egg adds a shimmering focal point to the store's design.A maze patterned floor leads to the register area, symbolizing the culmination of the tournament and the shopping journey.The Goblet of Fire itself serves as a centerpiece, bringing the three tasks together.Multiple themed areas further the immersion:The largest Butterbeer Bar in the United States: Inspired by Chicago's famous style of speakeasies, guests can sip on the iconic Butterbeer and indulge in exclusive Chicago-themed Butterscotch Popcorn.Confectionery: From Bertie Bott's Every Flavor Beans to Chocolate Frogs, the Honeydukes inspired confectionery is filled with a variety of sweet treats and boasts an oversized interactive jellybean experience.Chicago Section: A selection of Chicago-exclusive wizarding world merchandise include a Chicago bear, spirit jersey, pins, mug, tote bag, and caps.House Pride: Themed apparel, accessories, collectibles and a dedicated fitting room ensure fans can rep their preferred house.Wands, Robes, Stationery, Jewelry and Collectables: Fans can find their perfect match in the Room of Wands and explore unique keepsakes that celebrate the wizarding world.MinaLima Section: Home to America's second House of MinaLima, the graphic design duo behind the Harry Potter and Fantastic Beasts films, the area features visual storytelling. A Chicago-exclusive print from the designers is also available.Personalization: Fans can personalize a Hogwarts robe, wand or acceptance letter to make for a truly unique purchase.Check out the Harry Potter Shop Chicago page for more information, including future events.Source: Harry Potter Shop Chicago Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Door G, a new independent creative production studio, has erected New Englands tallest virtual production wall. The new system will be an integral part of the studios efforts to leverage virtual production, emerging AI solutions, and agile workflows to build immersive video experiences.The 56-foot-wide, 14-foot-tall, J-shaped LED wall was developed in collaboration with Mo-Sys, INFiLED, NVIDIA, and Brompton, and integrates with Unreal Engine to enable a sustainable storytelling approach.From high-end ad campaigns to feature films, this space was built to bring ideas to life with precision and scale, said Steve Rosa, CEO of Door G.We started Door G not just to leverage emerging technologies but to do imaginative storytelling that wasn't possible a few years ago, added Rosa. Were going to push boundaries with our partnersfilmmakers, brands, and agenciesto keep creating new worlds of possibilities in our studio.Door G also invites companies and groups to utilize its studio as a location for memorable meetings, podcasts, presentations, or events. Visit Door G for more information or to schedule a tour.Source: Door G Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Funtastik Studios Limited, a subsidiary of NY VFXWAALA, has acquired 11,111,111 shares in Goodbye Kansas Group through the conversion of convertible debentures valued at SEK 15 million. Through the conversion, Funtastiks stake totals 33,023,137, or 34 percent of all shares and votes.In March 2024, Goodbye Kansas and NY VFXWAALA entered into a strategic partnership agreement, with plans to establish a joint venture studio in India. As part of the same deal, a financing package was resolved, including a directed issue of the convertible debentures to Funtastik.NY VFXWAALA is a financially strong industrial shareholder with a long-term view who will be highly valuable to Goodbye Kansas, our clients and people, said Per Anders Wrn, chairman of the board of Goodbye Kansas. The partnership provides an even more competitive production capacity for our markets in the US and Europe, and it opens-up new business opportunities in India and across Asia through our recently established joint venture. In addition, the transaction further reduces Goodbye Kansas debts, continuing a transformative two-year decrease from approximately SEK 170 million to SEK 11 million.We have seen a major turnaround in the business performance of Goodbye Kansas over the last two quarters and are firmly convinced with their evolving strategy in the new year, commented Ajay Devgn, the Founder of NY VFXWAALA. Being optimistic of the ongoing business performance, Goodbye Kansass world-class capabilities and strength across the game services, animation and VFX offerings, we see this as a long-term potential in the strategic partnership between the two companies and have hence decided to execute our debentures to participate as shareholders in the Company, commented Mr. Ajay Devgn, the Founder of NY VFXWAALA.NY VFXWAALA is an award-winning production studio focusing on the Indian market, specializing in VFX and Digital Intermediate (DI). Since its inception in 2015, the company has been honored with the 64th National Award for Best Visual Effects, the highest recognition for films in India. It has also won the 10th Asian Film Award, making it the only studio in India to receive the accolade.Source: Goodbye Kansas Group Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

Starting an independent visual effects company, like any entrepreneurial effort, is tough. But starting that company in Japan as a foreigner is another challenge entirely."Since Megalis VFX started out not aiming for the Japanese market, it removed a lot of the communication issues we could have struggled with from the beginning, notes co-founder and VFX Supervisor Christophe Rodo. But those Japanese projects came along later, and Japan is not a country that is easy for foreigners to navigate. So, there were a few administrative struggles and a number of catch-22 situations regarding visas, office rentals, and company registration.But a major creative hurdle for Megalis known for its work on Netflixs Oni: Thunder Gods Tale, HBOs The Nevers and Toei Companys Shin Kamen Rider was the apprehension Japanese entertainment companies expressed when it came to embracing unfamiliar new technology and production pipelines.From the outside, Japan seems like its on the cutting edge with their electric cities, says Jeffrey Dillinger, Megalis CEO and Head of CG. But you get here and theres a lot of hesitation. Theres a lot of pressure riding on someone who makes a decision like changing software or pipelines. No one wants to be the one who gets blamed if it doesnt work out.Dillinger worked in Hollywood for roughly 14 years, serving as lighting lead at Industrial Light & Magic (ILM), an effects animator for Sony Pictures Imageworks on films like Castaway, and was also part of Imageworks Look Development and Lighting department for projects like Beowulf, Spider-Man 3, Smurfs, and others. But, after frequent trips to Japan, Dillinger made the official move to the Land of the Rising Sun in 2013. I knew two words of the language, but I fell in love with the place, says Dillinger. I was going back to Japan three times a year and people were like, Why dont you just live there? And I went, I should.Dillinger took a job at the Shinjuku-based video game publishing company Square Enix, which is responsible for releasing the Final Fantasy series, Dragon Quest, and Kingdom Hearts. Initially, he was excited to work on real-time CG asset creation for the Final Fantasy games. But after two years with the company, Dillinger learned why so many of his Japanese colleagues at Imageworks and ILM had chosen industry jobs in the West.I was working at my desk one day, using this tool that Id just been shown how to use, and this guy comes by and says, Oh I wrote that 12 years ago. Its cool were still using it, he recalls. But to me, it really wasnt that cool.Keep in mind, Japan is a country that just last year officially said goodbye to floppy disks, a computer storage method the U.S. has long considered obsolete.Theres this mentality that Japanese artists will all stay until the last train and get these projects done with insufficient tools, notes Dillinger. But Japanese artists are so talented and, if you go to SIGGRAPH, a good portion of the Emerging Technologies exhibits are coming from universities in Japan. But, in the Japanese workforce, you dont see them being used. I always felt, given the right leadership and tools, these professional artists could succeed on a bigger scale. And maybe even have dinner with their families.Little did Dillinger know that by 2015, Rodo, whom he had already crossed paths with at ILM, was two years away from founding Megalis VFX. And, as the good ol Field of Dreams quote goes, If you build it, they will come.A few production houses have been very active in Japan over the last 5 years, creating above average budgets and opportunities to increase the quality of VFX in Japan, notes Rodo. Its a great honor for Megalis to have been an active part of that landscape. We have been able to discuss reaching people internationally with many Japanese producers who contacted us because they saw us as a bridge to the international level of quality their audience needs. A big part of the shift Megalis has seen began in 2022, when Dillinger and Rodo joined forces to tackle Tonko Houses Oni.When Chris and I met again in Japan, he showed me the concept art for this project Daisuke Tsutsumi at Tonko House was working on, says Dillinger. Megalis was a company of 28 people at that time. Tonko House, which was a company of former Pixar artists who also decided to create their own studio in Japan, wanted Megalis to work with them. And Chris asked me to join the team. It was a good partnership, and we found a good synergy.Oni is a great example of how VFX and CG artists can use modern tools to create a classic style on a tighter time-frame and budget. Tonko House initially planned to use stop-motion animation. However, because of time and budget, they had to move series production to CG while still aiming to capture the look and feel of stop-motion within a medium that continues to advance and gravitate toward photoreal. The Oni team adopted the concept of limited frames from 80s anime and married it with CG software and stop-motion aesthetics.Going back to my previous hypothesis about the right leadership and the right tools, Chris and my philosophy is Let the artists be artists, says Dillinger. Give them the tools to make sure that the process is all about creating art, not creating data. Dice was an amazing partner in that.Using CG software called Solaris, compatible with Arnold and Houdini, Megalis created 1,000 assets and over 2,200 shots on the four-episode Netflix series. Though it was their first time using the lookdev, layout and lighting tool, the results speak for themselves.Oni was a huge step that made us build up all departments and parts of the workflow that we didnt have yet, notes Rodo, whose company had previously worked with Netflix on the first season of Love, Death & Robots, as well as other studios like Amazon, Nintendo and even Studio Chizu for Mamoru Hosodas award-winning feature, Belle. Its never simple to predict if a project, as interesting as it is, will become something that resonates with the audience But we kind of caught lightning in a bottle with Oni, adds Dillinger of the Annie Award-winning project. I read a review that said, You may think this is CG, but its actually stop-motion. Even though thats backwards, I take it as a compliment. We clearly did our job well.It was the most extensive project Megalis had worked on up to that point and Dillinger says it was definitely a turning point. Suddenly, more productions started approaching the company not only to provide services for their project, but to take the role of main vendor.Right after we did Oni, Netflix reached out to us and asked us to be the main vendor on the Japanese zombie film, Zom 100: Bucket List of the Dead, notes Dillinger, referring to the live-action film adaptation of the streamers anime series of the same name. In the movie, a regular office worker wakes up one morning to find his world forever changed as a zombie virus overtakes his city. We were on set during the entirety of the shooting and responsible for delivering close to 1,000 shots on the film.One of those shots included a walking, zombified shark.As we were going through the manga, there was a bit where a zombie shark appears with 17 legs, notes Dillinger. Right away we knew we needed that to show up in the film. Coming from a lookdev background and having done a lot of creatures, I was super excited. And it became the main attraction of the movie.Once again using Solaris for its suite of look development and lighting tools within Houdini, Dillinger, Rodo and their team took on the unique challenge of developing a walk cycle for an amphibious predator with an odd number of legs that had never stepped on land before.We had to have it behave a bit clumsily at first and then, as the shark learns to use its legs, have it become more fierce and threatening, notes Dillinger. We really had to think about what was physically going on with these legs. Was the pivot point at the hips of the people inside the shark's body or at the point where the legs extended out of the shark's skin? Once we understood what we were dealing with, we could build the rig and create the movement based on that.He adds, I think that one of the most enjoyable sequences was in the corridor. The shark has just started to get its feet under itself and the characters who are trapped there, as well as the audience, are getting their first look at what this thing is. Space is very tight, so the movement of the shark is very limited. Thus, the richness of the performance is really in the details.Along with the shark, another big challenge Megalis faced on Zom was creating Kabukicho, an entertainment district in Shinjuku, while seamlessly extending the practical set.Our office at the time was in Shinjuku, about a 20-minute walk from the location we were creating, says Dillinger. So, we spent a lot of time there taking reference photos and becoming familiar with the overall atmosphere of the area. Its a famous part of Tokyo and we knew that we had hit the target when I was looking at our work with the director and he said he can smell Kabukicho by just looking at the images. Most recently, Megalis worked on the live-action Yu Yu Hakusho, Toei Animations Hypergalactic 5 and Seasons 2 and 3 of Alice in Borderland for Netflix Japan. Theyve also expanded to include a new office in Toulon, France.We also have a few various internal projects we develop to update our workflow in parallel, shares Rodo. We are working on some high-end creature R&D, some small pilots, some Real Time shorts and some VR high quality graphics that we are very excited about.As for Dillingers Japanese language skills, he says, I know enough to get myself into trouble. But the company has been working to help all their employees overcome communication barriers by offering in-office language classes once a week.We have Japanese people working at Megalis who aren't super confident with English, and we have employees who are foreigners and don't really speak Japanese, says Dillinger. We want to foster an environment where everyone is comfortable. So, we offer English classes and Japanese classes so people can start to feel more at ease. One of our classes actually dived into the puns of Pokmon names. I wasnt at that class, but I wish I had been there. You'll usually hear laughter coming from the room when a language class is going on. People are learning but having fun while they're doing it. It's great to be able to offer that at the office.He adds, Plus, we are going to meetings with Japanese clients, and we want to do whatever we can do to give them more confidence in working with us.It seems to be working. Theres a Japanese company we keep working with called The Seven, which is a child company of TBS Television, shares Dillinger. "Its a partnership we went after from the beginning because they wanted to create things in Japan that would succeed internationally. We saw them as a company who would listen. I think the most exciting change for us has been the willingness of some creatives to explore new ways of working. They realize that the current system could be improved upon and are open to hearing our input and new ideas.He adds, And, going back to the SIGGRAPH thing, Chris and I are actually trying to make connections with universities here in Japan and in the U.S. to bridge connections through internships with us and inspire young people to take risks. There arent many universities in Japan preparing students to get into the VFX field. Many are self-taught. We want to offer these students tools and solutions as well. Victoria Davis is a full-time, freelance journalist and part-time Otaku with an affinity for all things anime. She's reported on numerous stories from activist news to entertainment. Find more about her work at victoriadavisdepiction.com.

Juice has shared with AWN and VFXWorld their work, in collaboration with BigTime Creative Shop and production company ProdCo, on The Last Crescendo, a commercial promoting the highly anticipated rematch between Canadas undefeated Artur Beterbiev and Russias Dmitry Bivol, held February 22 in Riyadh, that Bivol won by majority decision.Directed by Alan Masferrer and produced by ProdCo, the commercial reimagines boxing through an operatic, mythological lens, blending classical art with modern combat sports.Juices VFX expertise was crucial in bringing this vision to life, integrating live-action performances with elaborate set designs and CGI.At Juice, we worked with intricate 3D design of a championship belt-adorned chandelier and the fresco-inspired ceiling, to AI-enhanced matte paintings and dynamic crowd compositing, every detail was crafted to amplify the operatic intensity of the fight, said Olga Rabiecka, Producer at Juice. The final touch, the chandelier shattering, was practically executed on set, but we refined and enhanced it through complex compositing, symbolizing not just the clash of champions, but the breaking point where legends are made. Credits:Client: Riyadh SeasonAgency: Big Time Creative ShopProduction Company: ProdCoDirector: Alan MasferrerVFX & Post-postproduction: JuiceSound design & Mix: CaronMusic: KO MusicColor & Conform: Time Based ArtsAdditional VFX: CGF Visual Effects Studio, Fall SinsSource: Juice Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.

The National Film Development Corporation Malaysia (FINAS) ICVFX Virtual Production (VP) Studio is a cutting-edge facility equipped with Brompton Technologys Tessera LED video processors. Located in Ampang Jaya, the studio, which was upgraded last year, is now fully operational with capabilities designed to meet the growing demands of filmmakers and content creators in Malaysia.The FINAS Studios complex features flagship space and two smaller studios. FINAS has transitioned from its traditional greenscreen setup to a fully integrated VP system. The VP Studio includes a curved LED wall, side panels, and ceiling displays, powered by three 4K Tessera SX40 LED video processors. Tessera Remote software ensures smooth operation, while INFiLED p2.5, p3.91, and p5.9 LED panels, calibrated using Bromptons Hydra advanced measurement system, deliver Brompton HDR-ready visuals with stunning realism and vibrancy.This technology allows filmmakers to integrate visual effects in real-time, reducing post-production demands and streamlining the creative process. The studio is also suitable for events, ceremonies, and other productions.Investing in Bromptons Tessera LED video processors allows us to deliver exceptional image quality, reliability, and real-time performance, said Mr. Idris Bin Torman, Director of Audio Visual Technology at FINAS. Their advanced features, like HDR support and pixel-perfect control, ensure we can meet the demanding needs of our projects with confidence.Its incredibly rewarding to see Brompton Tessera processors at the heart of the FINAS Studios, said Brompton Head of Sales for APAC, Sebastian Kanabar. Supporting their team in transforming their studio into a world-class Virtual Production hub aligns with our own mission to empower creative professionals to push the boundaries of visual storytelling. Finding the right equipment is just one part of the equation, but partnering with the right teams is equally crucial. At FINAS, they excelled at both. By choosing state-of-the-art LED solutions and collaborating with expert partners, theyve created something truly special. The new ICVFX Virtual Production Studio is a fantastic example of how the right technology, combined with the right expertise, can drive innovation and push the boundaries of new creative possibilities for the Malaysian film industry.Source: Brompton Technology Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.