The last few months have seen NVIZ receive plenty of coverage in leading industry publications. We’ve collated them below so you can check them out...
Last year NVIZ were working on Previs for the Netflix series, The Irregulars, when the pandemic forced the shoot to shut down. It was a familiar story for lots of productions, and we were delighted to help keep the show moving through live remote sessions.
You can read more about these sessions in this article from AWN:
NVIZ Shows its Virtual Side for The Irregulars.
You can read more about our work and the overall VFX on the show in this great interview with VFX Supervisor, Richard Briscoe, from Befores & Afters:
Ripping on the Riff for The Irregulars.
Read more about our Previs, Virtual Production and VFX work on The Irregulars on our website:
NVIZ - The Irregulars
“We were delighted to be able to work with NVIZ on The Irregulars during 2020 when the pandemic forced us all to find a new way of working. With CGI-heavy finale scenes left to shoot and complete the series, NVIZ made it possible, due to the necessities of Covid, for us all to work remotely...None of us expected it to work as smoothly as it did so thanks to the team for making the online pre-vis sessions fly!”
Joss Agnew, Director
The Midnight Sky
If you remember our last newsletter (we forgive you if you don’t, it was quite a while ago!) we were eagerly awaiting the release of The Midnight Sky. The Oscar nominated film was a huge highlight of our year in 2020. The whole team loved working on the project and while it wasn’t the first outing for our virtual camera system, ARENA, it was a significant one.
You can read more about how ARENA was used by Director George Clooney and DoP Martin Ruhe in these articles from British Cinematographer and VFX Voice:
NVIZ Virtual Camera System Helps Visualise the World of The Midnight Sky
The Midnight Sky: From the Arctic to Deep Space in Search of Refuge for Humanity.
Read more on our website: NVIZ - The Midnight Sky
"George and Martin were intrigued by not only ‘shooting’ the previs through a virtual camera system, but also using this method to develop the sequences during both pre-production and principal photography"
Matt Kasmir, Visual Effects Supervisor
For Robert Zemeckis’ interpretation of Roald Dahl’s classic The Witches, NVIZ provided cutting edge Previs, Virtual Camera Sessions and Postvis, and were also the main vendor for Environment VFX. You can catch up with some great articles on the film, such as Before & Afters' - How The Witches Drew Upon a Ton of the Latest Techniques and AWN’s Method Studios Brings VFX Magic to Robert Zemeckis' The Witches. (Don’t worry, we get a few lines!)
"Bob was able to shoot up to 200 setups in a single 4-hour session using this toolset, which then fed to editorial to create the previs cuts...I can’t overstate how much value it brings when the director is able to oversee and ‘touch’ the previs like this, as opposed to having a team of animators do it through verbal direction.It helps to genuinely engage the creative muscles of every live-action department very early in the process, and served to inform everything from lighting to lens copies to changes to the designs of live action sets which were yet to be built.”
Kevin Baillie, VFX Supervisor
Every self-respecting VFX fan was saddened to hear of the closing of Cinefex last year. One of the last articles we contributed to for Cinefex (on Kenneth Brannagh’s film, Artemis Fowl) was in progress when it shut its doors. Luckily, one of their writers, Graham Edwards, was given permission to publish it on his own online publication, Illusions Almanac. Artemis Fowl - The Cinefex Article That Got Away
NVIZ in the Virtual Production Field Guide
NVIZ’s CEO, Kris Wright and CTIO, Hugh Macdonald were interviewed for the second volume of Epic Game’s Virtual Production Field Guide. The piece covered the many ways NVIZ is employing Unreal Engine to provide innovative services to filmmakers, most particularly with our virtual camera system, ARENA. Download your own copy here.
The impact of real-time technology on VFX
Real-time technology is changing and improving the way VFX are planned more and more. NVIZ have been asked to contribute to a couple of articles on this subject recently.
One of the first to publish is this article from TVB Europe - The Impact Real Time Technology is Having on VFX, featuring Janek Lender, our Head of Visualisation.
NVIZ have been delighted to host a range of virtual speaking events in the first half of 2021...
In May, our Head of Visualisation Janek Lender delivered talks to FMX 2021 and the VFX Festival Virtual Series on our Visualisation and Virtual Production work on the award winning The Midnight Sky.
In March our Head of 2D Jamie Wood presented at the VFX Festival Emerging Talent event, introducing an audience of graduates and budding VFX artists to the wide range of skill sets needed to create cutting edge Visualisation and VFX.
Earlier this year, NVIZ was joined by Producer Bryan Ryan!
Hailing from Texas, Bryan has fit right in with the rest of the NVIZ team and brings a wealth of experience with him. Having worked on titles such as The Jungle Book, Solo: A Star Wars Story, Venom, Mission: Impossible - Fallout and Hobbs & Shaw, Bryan will be overseeing production in our thriving Visualisation department.
That's everything for now!
We're currently working on projects for Amazon, Apple TV, Disney, Netflix, Marvel, NBC Universal, MARV Films and Warner Bros, so look out for more exciting updates next time.
All the best from the team at NVIZ.