VFX Industry Career Map Water

Total Page:16

File Type:pdf, Size:1020Kb

VFX Industry Career Map Water Production management Entry level Pre-production Follow the dotted lines to see how visual effects in the film and TV industries are made. Art, graphic design, creative Data digital media Production Production input/output routes VFX Producer manager coordinator VFX editor (I/O) technician Runner Multiple entry routes Concept Previsualisation artist (previs) artist Computer science, maths, physics routes On set Computer-generated (CG) department Technical Entry level Computer Look Pipeline Rigging Creature VFX Modelling graphics (CG) development Animator technical technical technical supervisor supervisor artist artist director (TD) director (TD) director (TD) Entry level Entry level Entry level Entry level Entry level Entry level Assistant Software Data capture Texture artist Environment Layout Lighting Matchmove Effects technical technical technician artist artist artist artist director (FX TD) director (TD) developer Art, Compositing The stamps creative Art, show the routes digital media, animation, in. Remember, computer Entry level creative Entry level Entry level you can move science digital media from one routes Entry level roles are routes department to ones that you can another. do straight after education, whether that be school, college or university. Most entry level roles are in production. Some companies look for Art, new entrants in all photography, Compositing creative the production roles Prep artist Roto artist Compositor supervisor digital media listed. routes Go to ScreenSkills for more details: VFX industry career map www.screenskills.com/careers-in-vfx water. You can think of VFX skills as being • Maya, the ubiquitous industry 3D If you want to take a degree, make sure a VFX company can take you into being What is visual effects? on a spectrum, with artists at one end, package you take one that will best equip you for a production coordinator, then a line TDs in the middle and programmers at a job. Have a look at ScreenSkills’ Select producer or production manager and Visual effects (VFX) is the art of combining computer-generated • Nuke, the software used for VFX the other end. People are often surprised compositing list of recommended courses in VFX at fi nally a producer. Runners don’t need to to learn that a good degree in computer screenskills.com/courses and select one have degrees, but they often do. Check Looking for further advice? imagery (CG) with live-action pictures. Think of the dinosaurs in • Mari, for painting the surface texture of science or maths can lead to a career in in VFX. We recognise courses where they out the websites of VFX companies for Jurassic World: Fallen Kingdom or the fi nal battle in Avengers: models in 3D If you’re interested in a career in the VFX industry, check out these websites to VFX. offer training in the relevant software, opportunities. fi nd out more: Infi nity War. If a scene in a fi lm can’t be captured on camera, it’s • Substance designer, also used for dedicated time to building a portfolio and Producers designing surface textures have strong links with the VFX industry. The graduate-training route made through the ingenuity of VFX. ScreenSkills, for information on careers and courses: screenskills.com/careers-in-VFX Like any business, the industry needs • Houdini, which is used for effects Some companies recruit staff directly from people to manage the projects, sell the Whichever path you are planning to simulation undergraduate and postgraduate courses. NextGen Skills Academy, courses and apprenticeships: nextgenskillsacademy.com The picture in the UK follow, look into the destinations of other VFX services and seal the deals. There Go to the large VFX companies’ websites students who have taken that route. If The UK is an international leader in the VFX industry. DNEG won the VFX Oscar for is a shortage within the VFX industry Use these tools to create a showreel to and look for in-house graduate training Access VFX, helping people get into the VFX, animation and games industries: accessvfx.org recent entrants are employed in jobs that First Man in 2019. The year before, DNEG and Framestore received the award for of people with project management, show off your talents. schemes. These are usually for roles with interest you, you are most likely on the Show me the Animation, online magazine with information on events and opportunities: Blade Runner 2049. These companies, based in the UK, with other studios around accountancy, legal, marketing and Go to screenskills.com/portfolio to learn a high degree of STEM as well as art skills, right track. the world, are internationally renowned for their quality and innovation. sales skills. To be equipped for roles how to do this. You can also test your such as layout or technical animation (tech showmetheanimation.com like producer, accountant or marketing ideas and share renders through forums, anim) and effects specialisms. Make sure Bectu, the media and entertainment union: bectu.org.uk Almost all the UK companies that create VFX for the feature fi lm industry (98%) executive, you need to have core business blogs and video sharing sites like Vimeo Routes into jobs in VFX you have a strong showreel if you want to are based in London. However, VFX is also used in television, advertising and skills, an in-depth understanding of or YouTube. Those pursuing computer The apprenticeship route go down this route. science or code-based VFX routes won’t Produced by ScreenSkills games, so there are opportunities for VFX careers wherever those are made. VFX is the VFX pipeline and knowledge of the Apprenticeships are an alternative to usually have to develop a showreel but will increasingly being used in virtual reality for architecture, training and healthcare industry as a whole. university. They are jobs with training, The data wrangling route need to evidence relevant coding skills. Supported by National Lottery funds awarded to ScreenSkills from the British Film Institute to so they’re a great opportunity to earn Graduates who have gained experience too. Cardiff, Glasgow, Belfast, Manchester, Brighton, Bournemouth and Bristol are Generalists and specialists deliver its Future Film Skills programme as you learn. They are relatively new to in managing digital data within other all places where VFX is made. It’s worth being aware that your role will What to study the VFX industry, but NextGen Skills sectors and can demonstrate an interest in be different depending on whether you Statistics courtesy of ScreenSkills (Annual ScreenSkills Assessment 2019) and UK Screen Alliance What to study at school and college Academy (nextgenskillsacademy.com) fi lm and VFX can get a start as part of the are employed in a small or a large VFX (Inclusion and Diversity in the UK, Visual Effects, Animation and Post-Production, 2019) For art and technical director roles, a team looking after a VFX company’s data, The VFX skills spectrum company. Small VFX companies need has developed apprenticeships as asset management and rendering. This people who can do a wide range of things, trained eye and an appreciation of light junior 2D artists and Assistant technical You can think of VFX as being on a spectrum, with arts-based roles at one end involves supporting projects in production Design by Dave Gray (iamdavegray.com) so they employ generalists. In large and colour are vital to be able to make directors, so check those out. These are and STEM (science, technology, engineering and maths) roles at the other. by backing up and moving data around or companies, employees will be working images appear real. A-levels or Highers in Level 4 apprenticeships, which means Many roles require both sets of skills. working in editorial as a data input/output With thanks to Phil Attfi eld (NextGen Skills Academy), Amy Smith (Framestore), Vic Wade on one specifi c part of the VFX pipeline, art, art history and photography can help they can be taken after A-levels, Highers technician. The work is usually shift- (DNEG), Lucy Cooper (Union VFX), Amy Blackwell (ILM), Simon Devereux (The Mill) picking up the work from one artist with this. It’s also useful to take A-levels or Level 3 diplomas. If you’re interested based, which means there’s time to take and handing it on to the next, so they or Highers in biology and physics as they in production roles, it’s worth looking internal online training and get feedback Originally commissioned by Yen Yau from Into Film are looking for specialists. You might be can be helpful in interpreting anatomy, for apprenticeships in marketing or on practice assets from VFX professionals someone who likes to excel in doing one mass, mechanics and movement. For accounting in related industries, such as between their shifts. Based on an original concept by Ian Murphy and Allan Burrell (www.compositingcoach.com) thing very well, or someone who enjoys programming roles, A-levels or Highers in a marketing apprenticeship for a video maths and computer programming are getting to grips with a breadth of skills. production company. Even if you’re not The animation route useful. working in VFX, you can develop skills that Consider junior roles in animation, such as you can transfer to the VFX industry later Develop yourself There are a wide range of Level 3 a lighting artist or junior compositor. Roles Art STEM on. Go to gov.uk/apply-apprenticeship to Developing your skills is as important vocational qualifi cations that are useful that require both STEM and art skills are fi nd apprenticeships near you. as gaining qualifi cations. Watch lots too. Look out for the AIM Awards Level 3 highly sought-after in both industries. If of movies. Take note of contemporary Extended Diploma in Games, Animation The internship route you can get into animation in this kind of and VFX Skills or NextGen Skills Academy culture and the way ideas are visualised.
Recommended publications
  • How Pcoip® Technology Can Save Broadcasters Time & Money While
    TVTechnology How PCoIP® Technology Can Save Broadcasters Time & Money While Boosting Cybersecurity COVID-19 and the need to work from home is transforming the way broadcasters produce, play- out, and distribute content. This post-KVM model prevents hostile players from hacking into broadcasters via home/remote user computers. Meanwhile, the reduced bandwidth allows many more home/remote users to connect to a broadcaster’s office or studio without overloading the corporate IT system, because so much less data is going back and forth. Industrial Light & THE SOLUTION: TERADICI’s PCoIP Magic Overcomes TECHNOLOGY ‘Dailies’ Issues with All of the post-KVM features outlined above are provided by Teradici’s PC-over-IP PCoIP Technology nfortunately, the current KVM (Keyboard- (PCoIP) communications protocol. PCoIP Video-Mouse) model of remote access is not uses advanced display compression to n the motion picture industry, adequate for this task. The reason: home- provide end users with on-premises or ‘dailies’ are raw, unedited sets of based/remote users lack secure connectivity cloud-based ‘virtual machines’. Teradici’s Ifootage shot during the production to their corporate workstations and servers. virtual workspace architecture compresses, day that are shared for review U This is because their KVM infrastructure is encrypts and transmits only pixels to a among key players. For a company designed to support local connections to broad range of software clients, mobile like Industrial Light & Magic (ILM) – nearby LAN resources, rather than delivering clients, thin clients and stateless PCoIP renowned for its visual effects in the high-performance user experiences over Zero Clients1, resulting in a highly secure, Star Wars films and other blockbusters long distance WANs.
    [Show full text]
  • 2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.Com TABLE of CONTENTS
    2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.com TABLE OF CONTENTS ABOUT THIS REPORT 2 FILMING LOCATIONS 3 GEORGIA IN FOCUS 5 CALIFORNIA IN FOCUS 5 FILM PRODUCTION: ECONOMIC IMPACTS 8 6255 W. Sunset Blvd. FILM PRODUCTION: BUDGETS AND SPENDING 10 12th Floor FILM PRODUCTION: JOBS 12 Hollywood, CA 90028 FILM PRODUCTION: VISUAL EFFECTS 14 FILM PRODUCTION: MUSIC SCORING 15 filmla.com FILM INCENTIVE PROGRAMS 16 CONCLUSION 18 @FilmLA STUDY METHODOLOGY 19 FilmLA SOURCES 20 FilmLAinc MOVIES OF 2016: APPENDIX A (TABLE) 21 MOVIES OF 2016: APPENDIX B (MAP) 24 CREDITS: QUESTIONS? CONTACT US! Research Analyst: Adrian McDonald Adrian McDonald Research Analyst (213) 977-8636 Graphic Design: [email protected] Shane Hirschman Photography: Shutterstock Lionsgate© Disney / Marvel© EPK.TV Cover Photograph: Dale Robinette ABOUT THIS REPORT For the last four years, FilmL.A. Research has tracked the movies released theatrically in the U.S. to determine where they were filmed, why they filmed in the locations they did and how much was spent to produce them. We do this to help businesspeople and policymakers, particularly those with investments in California, better understand the state’s place in the competitive business environment that is feature film production. For reasons described later in this report’s methodology section, FilmL.A. adopted a different film project sampling method for 2016. This year, our sample is based on the top 100 feature films at the domestic box office released theatrically within the U.S. during the 2016 calendar
    [Show full text]
  • Stxsurreal Partners with Academy Award-Winning Visual Effects Company Dneg to Co-Finance Slate of Original Short Form Vr Series
    STXSURREAL PARTNERS WITH ACADEMY AWARD-WINNING VISUAL EFFECTS COMPANY DNEG TO CO-FINANCE SLATE OF ORIGINAL SHORT FORM VR SERIES First Series in the Slate, THE LIMIT, from Director Robert Rodriguez is set to premiere on STX’s Surreal VR App Launching in Summer 2018 BURBANK, CA – April 9, 2018 – STXsurreal, the VR and immersive content division of Robert Simonds’ STX Entertainment, today announced that DNEG, fresh off of its fourth Academy Award win for visual effects, will partner to co-finance STX’s upcoming slate of premium, original, short-form VR series. As part of the deal, DNEG will exclusively provide STXsurreal post-production VFX and 3D conversion services on a minimum of six projects. The slate will premiere on STX’s previously announced pay-per-experience VR channel “SURREAL,” launching as an app on VR headsets in Summer 2018. “With the SURREAL channel, STX is revolutionizing what it means to create premium, original, narrative VR content,” said Rick Rey and Andy Vick, Co- Presidents of STXsurreal. “By partnering with DNEG, and utilizing their Oscar-winning visual effects expertise, we’re doubling down on our promise to bring audiences a truly cinematic and high-quality immersive experience featuring the most sought-after writers, directors and stars in the world today.” STXsurreal’s slate of original VR programming is being produced in a completely new format that bridges the gap between traditional widescreen and 360-degree video. The channel will kick off with THE LIMIT, a live-action, short-form virtual reality series from award-winning filmmaker Robert Rodriguez and starring actress Michelle Rodriguez.
    [Show full text]
  • Course Overview Tutor's Biography
    VISUAL EFFECTS (VFX) WITH DNEG Course Overview This intensive one-day studio and classroom VFX course is led by award-winning, global animation and VFX company DNEG. This course will introduce you to how a VFX shot is created from inception to final composite, covering pre-production, shoot and post-production stages and includes a hands-on session with a digital stills camera. Head-quartered in London, with offices in Vancouver, Mumbai, Los Angeles, Chennai, Montréal, Hyderabad, Chandigarh and Goa, DNEG is a world-leading company in the fields of animation and visual effects. Tutor’s Biography © Irish Film School PROGRAMME www.irishfilmschool.com 2018Page 1 of 7 The staff at DNEG are highly experienced instructors and trainers. They are trained to deliver “Greenlight”, an accelerated pathway into high-end VFX work. The Greenlight programme is delivered in-house at their offices in London, Vancouver, and Montréal. Awards The company has received four Academy Awards for their work on the films Inception, Interstellar, Ex Machina and Blade Runner 2049. In addition, DNEG has received Visual Effects Society awards for films such as Inception, Sherlock Holmes, Interstellar and Dunkirk, as well as BAFTA awards for Inception, Harry Potter and the Deathly Hallows – Part 2, Interstellar and Blade Runner 2049. In-Production and Current Projects Blade Runner 2049 DNEG are currently working on a large number of film projects, which include: © Irish Film School PROGRAMME www.irishfilmschool.com 2018Page 2 of 7 • Deadpool 2 • Ant-Man and the Wasp • Mission: Impossible – Fallout • Venom • First Man • Fantastic Beasts: The Crimes of Grindelwald • Alita: Battle Angel • The Kid Who Would Be King • Godzilla: King of the Monsters Career Influencers DNEG is a rapidly expanding business and is actively seeking new talent to join their team.
    [Show full text]
  • NVIDIA Quadro Powers All Five Academy Award Nominees for Best Visual Effects
    NVIDIA Quadro Powers All Five Academy Award Nominees for Best Visual Effects "Alice in Wonderland," "Inception," "Iron Man 2," "Harry Potter and the Deathly Hallows: Part 1," and "Hereafter" Nominated for VFX Oscar SANTA CLARA, CA -- This year the Academy of Motion Picture Arts and Sciences expanded the Best Visual Effects category to five nominated films, and it was another clean sweep for films that relied on NVIDIA® technology -- all Oscar nominees in this category were created by studios using NVIDIA® Quadro® professional graphics solutions. Double Negative (DNeg) created visual effects for several of this year's nominated films including "Inception," "Iron Man 2," and "Harry Potter and the Deathly Hallows: Part 1." Central to DNeg's effects workflow is their proprietary fluid simulation system, known as "Squirt," a component of which was recently rewritten to leverage the NVIDIA CUDA™ parallel computing architecture and Quadro graphics processing units (GPUs). "Moving our fluid solver onto the GPU allows our artists to get back the results of their simulations much faster," said Dan Bailey, lead GPU developer, DNeg. "Fluid simulations are now sent to a specialized GPU farm, giving artists more time to iterate and ramp up the complexity of a shot to achieve a more believable result for the big screen." "Iron Man 2" features spectacular visual effects work, much of which was delivered by Industrial Light & Magic (ILM). "Working with NVIDIA Quadro, we're able to work faster and iterate more frequently, which hugely benefits our artists, and ultimately the quality of our project work on films like 'Iron Man 2,'" notes Ben Snow, ILM visual effects supervisor.
    [Show full text]
  • Final Copy 2020 06 23 Niu
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: Digital visual effects in contemporary Hollywood cinema aesthetics, networks and transnational practice General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: DIGITAL VISUAL EFFECTS IN CONTEMPORARY HOLLYWOOD CINEMA AESTHETICS, NETWORKS AND TRANSNATIONAL PRACTICE General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License.
    [Show full text]
  • F9 Production Information 1
    1 F9 PRODUCTION INFORMATION UNIVERSAL PICTURES PRESENTS AN ORIGINAL FILM/ONE RACE FILMS/PERFECT STORM PRODUCTION IN ASSOCIATION WITH ROTH/KIRSCHENBAUM FILMS A JUSTIN LIN FILM VIN DIESEL MICHELLE RODRIGUEZ TYRESE GIBSON CHRIS ‘LUDACRIS’ BRIDGES JOHN CENA NATHALIE EMMANUEL JORDANA BREWSTER SUNG KANG WITH HELEN MIRREN WITH KURT RUSSELL AND CHARLIZE THERON BASED ON CHARACTERS CREATED BY GARY SCOTT THOMPSON PRODUCED BY NEAL H. MORITZ, p.g.a. VIN DIESEL, p.g.a. JUSTIN LIN, p.g.a. JEFFREY KIRSCHENBAUM, p.g.a. JOE ROTH CLAYTON TOWNSEND, p.g.a. SAMANTHA VINCENT STORY BY JUSTIN LIN & ALFREDO BOTELLO AND DANIEL CASEY SCREENPLAY BY DANIEL CASEY & JUSTIN LIN DIRECTED BY JUSTIN LIN 2 F9 PRODUCTION INFORMATION PRODUCTION INFORMATION TABLE OF CONTENTS THE SYNOPSIS ................................................................................................... 3 THE BACKSTORY .............................................................................................. 4 THE CHARACTERS ............................................................................................ 7 Dom Toretto – Vin Diesel ............................................................................................................. 8 Letty – Michelle Rodriguez ........................................................................................................... 8 Roman – Tyrese Gibson ............................................................................................................. 10 Tej – Chris “Ludacris” Bridges ...................................................................................................
    [Show full text]
  • Visual Effects Society & Quebec Film and Television Council Launch 5
    FOR IMMEDIATE RELEASE Visual Effects Society Contact: Naomi Goldman, NLG Communications T: 424-293-2113 or 310-770-2765 [email protected] Quebec Film and Television Council Contact: Aurore Lagonotte T : 438-493-7420 [email protected] Visual Effects Society & Quebec Film and Television Council Launch 5-Part Webinar Series to Destigmatize Mental Health and Provide Industry Support Collaborative Initiative with the financial support of the City of Montreal Features Insights from Leading VFX Pros and Professional Mental Health Guidance Los Angeles (July 7, 2021) – Today, the Visual Effects Society (VES), the industry’s global professional honorary society, and the Quebec Film and Television Council (QFTC) launched Reignite Yourself – Instruments to Face Daily Life, a five-part Webinar series around mental health to support the worldwide visual effects industry. The free, open source episodes feature conversations with veteran visual effects professionals and mental health professionals, providing both personal insights and expert guidance. This video series is the first initiative of the VES’ new global Health and Wellbeing Committee co-chaired by Emma Clifton Perry, VES 1st Vice Chair and Philipp Wolf, VES Montreal Chair. It is part of the QFTC’s Release Your Creativity project, which is made possible thanks to the financial support of the City of Montreal, the NAD-UQAC School, as well as partner studios Caribara, DNEG, Framestore, Method Studios, Reel FX and Technicolor (through its three brands Mikros, MPC and Mr X). Reignite Yourself covers a spectrum of issues around mental health, including dealing with stress and anxiety, dealing with high-pressure situations, maintaining work-life balance, empathy and handling negative feedback and creating a growth mindset through confidence building and motivation.
    [Show full text]
  • Than Digital Makeup: the Visual Effects Industry As Hollywood Diaspora
    More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora By Sarah K. Hellström Department of Cinema Studies Master’s Thesis 15 hp Master Course 30 hp, VT 2013 Supervisor: Dr. Patrick Vonderau If I hear one more person who comes up to me and complains about [how]‘computer-music has no soul’ then I will go furious, you know. ‘Cause of course the computer is just a tool. And if there is no soul in computer-music then it's because nobody put it there and that's not the computers role, it's the role of the songwriter. He puts down his soul in the song if he wants to. A guitar will never write a song and a computer will never write a song, these are just tools.i - Björk Title: More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora Author’s name: Sarah K. Hellström Supervisor: Dr. Patrick Vonderau Abstract This thesis assesses the marginal field (niche unit) of visual effects while taking into account visible and invisible vfx in virtual and actual geographies in Hollywood movies as part of industry-level studies, all the while seeking to bridge the gap between traditional, theoretical approaches of cinema studies and practitioner experience in the context of production culture. The focus of this essay remains on the many temporal aspects of production processes that identify vfx film production as chief, and vfx for television as subsequential. Encouraging scholars to consider a previously limited and repeatedly mislabeled area by demonstrating the pandemic presence of effects and its workers as a form of Hollywood diaspora, this thesis also seeks to demonstrate the need for involvement by means of scholar-practitioner methodologies.
    [Show full text]
  • Análisis De La Filmografía De Christopher Nolan
    UNIVERSIDAD DE EXTREMADURA FACULTAD DE CIENCIAS DE LA DOCUMENTACIÓN Y LA COMUNICACIÓN GRADO EN COMUNICACIÓN AUDIOVISUAL Trabajo Fin de Grado ANÁLISIS DE LA FILMOGRAFÍA DE CHRISTOPHER NOLAN RUBÉN BENÍTEZ LLAMAZARES REALIZADO BAJO LA TUTELA DEL PROFESOR: JOSÉ MALDONADO ESCRIBANO CONVOCATORIA Septiembre 2015 ÍNDICE 1. Introducción ........................................................................................................ 3 2. Objetivos y metodología .................................................................................. 3 2.1.Objetivos ......................................................................................................... 3 2.2.Metodología .................................................................................................... 5 3. Estudio del cineasta Christopher Nolan .................................................... 6 3.1. Contexto cinematográfico .............................................................................. 6 3.2. Análisis del director ....................................................................................... 8 3.2.1. Biografía y filmografía ......................................................................... 8 3.2.2. Influencias del director ....................................................................... 11 3.2.3. Premios obtenidos en su filmografía .................................................. 12 4. Análisis de las películas ................................................................................. 16 4.1. Following ....................................................................................................
    [Show full text]
  • PRIME FOCUS LIMITED ANNUAL REPORT 2013-14 for Fifteen Months
    PRIME FOCUS LIMITED ANNUAL REPORT 2013-14 for fi ft een months ended 30 June 2014 MANY DREAMT IT COULD BE DONE OTHERS THOUGHT IT COULD BE DONE SOME PLANNED IT COULD BE DONE FEW WILLED IT HAD TO BE DONE What diff erentiates the doers from the dreamers and the thinkers is their sheer tenacity, gritt y determination, steely resolve and unshakeable faith in their vision, venture and values. In a world that is constrained and confi ned with limits and boundaries, these select few not only dream, but also dare, and do. They keep PUSHING THE BOUNDARIES. In 1995, a group of four started a small business of extending post production services from a garage in Mumbai. PUSHING THE BOUNDARIES of geography, it expanded its presence around the world from Mumbai to 16 cities across 4 continents and 7 time zones. PUSHING THE BOUNDARIES of creativity, it executed some of the most enthralling and fantastical visual eff ects and 3D movies ever seen. PUSHING THE BOUNDARIES of technology, it embraced Cloud to create a pioneering Media ERP (enterprise resource planning) soft ware for managing the business of content. PUSHING THE BOUNDARIES of collaboration, it extended its relationships with top broadcasters, studios, production houses, brands, advertising agencies, sports bodies and other content organizations across all major content markets. PUSHING THE BOUNDARIES of fi nancial performance, it enjoyed the faith and trust of marquee investors. Today, Prime Focus has evolved from a garage to become a global powerhouse of M&E services. AND YET, WE BELIEVE THIS IS JUST THE BEGINNING.
    [Show full text]
  • DNEG to Redefine VFX Services for Rapidly Growing Markets
    DNEG to ReDefine VFX services for rapidly growing markets London, May 16, 2019: DNEG, the award-winning global visual effects (VFX), animation and stereo conversion business, has launched a new offering called ReDefine, to bridge the gap between the East and the West for creative services for film and “Over The Top” (OTT) content for streaming. ReDefine will operate alongside DNEG, offering creative visual effects and animation services to expanding international markets such as China and India, as well as other global independent productions. It will bring local experience, top-end creative supervision and scale to these rapidly growing markets, while leveraging the benefits of access to DNEG’s market-leading technology infrastructure. China is expected to surpass North America as the world’s largest theatrical movie market in the next few years, and demand for original OTT streaming content in India is growing rapidly, driven primarily by mobile broadband usage and lower data charges. ReDefine’s work is being led by dedicated supervisory teams operating from London and Montréal, focusing on creative design and execution. ReDefine will be based in a brand-new studio facility in Mumbai, which will be home to more than 600 staff. DNEG CEO, Namit Malhotra, said: “As part of our vision to build a truly global organisation we are continuing to explore how we work with our partners, storytellers and content makers across the globe. “Our clients’ needs and ways of working in areas such as China and India are often different to those of the Hollywood productions for which DNEG is honoured to have won four of the last five visual effects Oscars.
    [Show full text]