Company 3’s Post

If you need high-end VFX imagery for a film, TV show or video game, the VFX-as-a-creative-service industry is the only game in town. Despite this, it’s an industry in which the buyers have a lot of power, companies compete on price, and barriers for entry are low. #vfx #vfxindustry #strategy #competition

Awesome article by Ian Failes on beforesandafters.com detailing the development and execution of many of the incredible visual effects in “Fallout.” **Major spoiler alerts through Failes’ piece** Here’s an example of the filmmaking insights: ”An important thing to remember is that ‘Fallout’ was shot on film. [Visual Effects Supervisor and Supervising Producer Jay] Worth felt that shooting on film lent itself well to shooting on an LED stage, in that it softened the digital projection. But choosing film did require production to do far more testing, advises Worth. ‘When you shoot film, you don’t have a nice large monitor to review what the camera sees. You have to shoot it, get it developed, wait 24 hours until you get your dailies back, and really hope that it worked the way you wanted it to. So it requires a lot more testing, especially when you want to plan for final pixel shots and you’re not just replacing it all in post.’” — Ian Failes #entertainment #fallouttvseries #visualeffects #tv #television #streaming #streamingtv #visualstorytelling #moviemagic

Pixar Animation Studios on Tuesday began laying off about 14% of its workforce as it scales back development of original streaming series, according to a source familiar with the development. Approximately 175 people will be impacted by the job cuts. Pixar will return its focus exclusively to feature films, which will screen in theaters before becoming available in homes via Disney+. A single original series, "Win or Lose," about a co-ed softball team, will appear this year on Disney+. follow for more updates! #pixarstudio #disney #job #layoff #updates #socialmediaupdates #startupcommunity #karlostartup

⭐ NEW EPISODE ⭐ Episode 14 of 'Make The Logo Bigger' features Caleb De Leon & Haley McDonald, co-partners at 3p Studio Group, a full-service content and post-production powerhouse. Caleb’s career began unexpectedly in live events, where he gradually discovered his passion for VFX and post-production, ultimately becoming a creative director and VFX supervisor. Meanwhile, Haley’s journey followed a more traditional route, fuelled by an early love for film and television. Her career spans roles such as editor, motion designer, and compositor, evolving from small company gigs to a thriving freelance career. In the episode, we uncover the diverse paths that led them to where they are today, explore the complexities of the post-production process, and discuss what it takes to thrive in this demanding industry. Caleb and Haley offer their perspectives on various aspects, including the significance of mastering different roles within post-production, the balancing act required to meet tight deadlines, and how the industry is adapting to the digital age. Additionally, we break down key post-production terminology, providing valuable insights for production professionals who may not frequently engage with this side of the industry. #PostProduction #CreativeLeadership #VFX #FilmIndustry #DigitalMedia #ContentCreation #CreativeProcess #LeadershipInMedia #VideoProduction #PodcastInterview #CareerInFilm #FilmProduction #VisualEffects #CreativeIndustry #MediaInnovation

You know things aren't great when a weekend sees two holdovers in a close race for #1 and the winner takes it with just $30M.   That's Hollywood's yo-yo distribution strategy at work, making it a bust or success at the boxoffice every other weekend. Last year's #sagaftra strikes are blamed for today's lack of big movies -- but the crisis reflects how long the AMPTP took to reach a settlement with the striking actors and writers.   Meanwhile, back at the multiplexes, Universal/DreamWorks Animation's KUNG FU PANDA 4 was still number one in weekend two with $30M -- down only 48.27% -- at 4,067 theatres ($7,376), per Comscore Senior Media Analyst Paul Dergarabedian. It reportedly was produced for a modest (for animation) $85M. It's done $107.7M domestic with a global cume of $176.5M.   WB/Legendary Entertainment was a close #2 with weekend three of DUNE: PART TWO with $29.1M (-37.03%) at 3,847theatres ($7,564). It's done $205.3M domestic with a worldwide cume of $494.7M. D2 reportedly cost $190M (or more) to produce, with Legendary paying most of it. Comscore estimates that the overall market for the weekend was $88.2 million, down 37% from the previous weekend and 6% from this time last year. It's a good lesson - pay your writers more, get better productions made. #dune2 #studioproduction #revenue #boxoffice #kungfu #moviereviews #universalstudios #lionsgate #mediaandentertainment #hollywoodstudios

Just read a terrific article by Vincent Frei on the motion graphics work for the sci-fi action feature ATLAS on Netflix. Great to learn more about the show’s tech and workflows. I had the pleasure of working on the show with Cantina Creative as VFX Producer. So interesting to understand the interactions between the global teams that made the show happen. Definite follow for anyone interested in vfx and mogfx!

I loved Godzilla Minus One and it’s Oscar win should be a wake-up call for Hollywood. It’s time to rethink VFX. With a modest budget and a small team, this film outshone the blockbuster behemoths, proving that creativity and collaboration trump resources. The success lies in embracing digital effects as an art form, not just a necessity, and integrating them with a clear, visionary approach. #GodzillaMinusOne #vfx https://lnkd.in/e5M9befx

Want to learn more about the work we did for hit Netflix film Einstein and the Bomb? Click the link below. https://lnkd.in/egWugbfe #LAVFX #VFX #EinsteinandtheBomb #Netflix

As more kidcos enter the theatrical biz, execs at Composition Media, pocket.watch, MIAM! animation and more weigh in on why the timing is particularly ripe for indies to shine. https://lnkd.in/eSVf-H66

Prepare to have your perception of reality shattered as we talked with Production #VFX Supervisor David Simpson. In our exclusive interview, he unravels the intricacies of creating invisible #visualeffects (made by Framestore, TPO VFX and fixfx) for #AlexGarland's groundbreaking film, #CivilWar: