To celebrate the one-year anniversary of Marvel Studios’ “WandaVision”, we’re thrilled to show you a glimpse at the Compositing work that went into the series. All episodes are streaming now on Disney+. Marvel Studios’ “WandaVision” blends the style of classic sitcoms with the Marvel Cinematic Universe in which Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany)—two super-powered beings living their ideal suburban lives—begin to suspect that everything is not as it seems.
Director Matt Shakman
Head Writer Jac Schaeffer
ILM Visual Effects Supervisor Steve Moncur
ILM Executive Visual Effects Producer Stefan Drury
In the aftermath of Avengers: Endgame, Sam Wilson/Falcon and Bucky Barnes/Winter Soldier test their compatibility as a team while taking on an action-packed mission in Marvel’s live-action series The Falcon and the Winter Soldier (Disney +). Artists from The Third Floor in Atlanta and Los Angeles worked from pre to post production helping to visualize shots as showmakers planned and filmed thrilling airborne, chase and fight sequences. Collaborating closely with Visual Effects Supervisor Eric Leven, The Third Floor artists provided previs as well as postvis across the series, as well as techvis to support production . The Falcon and the Winter Soldier has many dramatic flight scenes and previs was among the techniques used to help develop real-world approaches to these aerial shoots. The visualization process supported the show team as they developed a level of realistic, open-air camerawork that they wanted for the storytelling. The Falcon and the Winter Soldier was created by Showrunner and Head Writer Malcolm Spellman, directed by Kari Skogland and produced by Marvel Studios. The Disney + series features an arc of six episodes.
THE THIRD FLOOR is the world’s preeminent Visualization Studio dedicated to supporting the design and production of next-generation media for feature films, television, commercials, video games, virtual reality and themed attractions. Working hand-in-hand with directors, producers and key crew, the company’s highly creative workforce creates digital versions of shots and scenes to streamline physical production and post. Since its founding in 2004, THE THIRD FLOOR has contributed to hundreds of breakthrough projects, including Avengers: Endgame, Spider-Man: Far From Home, Alita: Battle Angel, and six seasons of HBO’s Game of Thrones. THE THIRD FLOOR has received five Emmy Awards, virtual cinematography awards from the Visual Effects Society and awards from the Themed Entertainment Association, Hollywood Post Alliance and SIGGRAPH.
With the help of her Fairy Godmother, Cinderella manages to attend the ball. But watch to see what happens when the spell ends at midnight! 💫 #Cinderella#DisneyJuniorUK
Walt Disney’s CINDERELLA, based on the world’s greatest fairy tale, has captivated audiences for generations with its spellbinding story, memorable music, spectacular animation and unforgettable characters. Now, with an all-new digital restoration, CINDERELLA sparkles like never before.
The Proud Family is louder and prouder and FINALLY coming back to your screens! 💜
The Proud Family: #LouderAndProuder, an all-new Original series, is streaming February 23 only on @DisneyPlus.
Disney+ is the streaming home of Disney, Pixar, Marvel, Star Wars, National Geographic, and more. From new releases to your favorite classics and exclusive Originals, there’s something for everyone, all ad free.
From Masashi Ando, Masayuki Miyaji and Production I.G.
THE DEER KING marks the directorial debut of acclaimed animator Masashi Ando. Ando has previously worked as a character designer, animation director, and key animator with the famed Studio Ghibli (SPIRITED AWAY, PRINCESS MONONOKE), and with directors Satoshi Kon (PAPRIKA, PARANOIA AGENT) and Makoto Shinkai (YOUR NAME). Masayuki Miyaji is best known for directing the 2009 series XAM’D: LOST MEMORIES and work on Studio Ghibli films such as MY NEIGHBORS THE YAMADAS. The book series, by author Nahoko Uehashi, won the Booksellers Award and the fourth Japan Medical Novel Award in 2015, and has printed 2.2 million copies in Japan so far. Known for their work in series and feature animation, notable works from animation studio Production I.G include GHOST IN THE SHELL, FLCL, HAIKYUU!! and PSYCHO PASS.
The studio’s 2011 feature A LETTER TO MOMO and 2015 feature MISS HOKUSAI are also distributed by GKIDS.
In the years following a vicious war, the Empire of Zol now controls the land and citizens of rival Aquafa – except for Aquafa’s Fire Horse Territory, where wild dogs that once carried the deadly Black Wolf Fever continue to roam free. When a pack of dogs race through a Zol-controlled mine, Van, an enslaved former soldier, and a young girl named Yuna are both bitten, but manage to escape as the sole survivors of the attack. Finally free, Van and Yuna seek out a simple, peaceful existence in the countryside. But as the deadly disease once again runs rampant, they find themselves at the crossroads of a struggle much larger than any one nation.
Check out this thrilling behind-the-scenes look at Industrial Light & Magic’s work on Marvel Studios’ “Black Widow”. One of only ten films featured on the shortlist for the category of “Visual Effects” at the 94th Academy Awards®.
“We are thrilled to have contributed to the work on ‘Black Widow’, and to have it listed among the ten films that were selected at the VFX bakeoff for the Academy Awards this year,” said Craig Hammack, Visual Effects Supervisor at ILM. “Congratulations to our amazing and talented team of artists, and all the support that surrounds them!”
Streaming now on @Disney Plus, Natasha Romanoff aka “Black Widow”, confronts the darker parts of her ledger when a dangerous conspiracy with ties to her past arises. Pursued by a force that will stop at nothing to bring her down, Natasha must deal with her history as a spy and the broken relationships left in her wake long before she became an Avenger.
In der Film- und Medienbranche werden Blue- und Greenscreen-Technologien immer mehr von hochauflösende LED-Wänden abgelöst: Große Displaytechnologien holen virtuelle Inhalte direkt ans Filmset und eröffnen neue kreative Spielräume für die Zukunft des Filmemachens. Im Herbst 2021 wurde eine geschwungene Wand aus LED Bildschirmen im Studio 1 der Filmakademie Baden-Württemberg aufgebaut. Die Research & Development-Abteilung des Animationsinstituts erprobte damit neue Drehmethoden und arbeitete an der Weiterentwicklung verschiedener Anwendungen, wie dem VPET Toolset zur Echtzeit-Interaktion mit virtuellen Elementen. Studierende der Bereiche Animation/Visual Effects, Szenenbild und Kamera erlernten den Umgang mit der Virtual-Production-Technologie im jährlichen „Set Extension Workshop“. In nur 90 Tagen produzierte das interdisziplinäre Team einen VFX-Kurzfilm – von der Ideenfindung bis hin zur Postproduktion. Zudem konnte das Studierendenteam von CYBERCITY LOVESTORY das neuartige Studiodesign nutzen, um Szenen für ihre Sci-Fi-Serie mit interaktivem VR-Game zu drehen.