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New integration of the companies' platforms allows creators to generate a plug-and-play scene quickly on an LED stage.

For Production VFX Supervisor David Van Dyke, Season 2 of Taika Waititi’s hit Max series saw fewer visual effects shots but more efficient virtual production that included use of a library of panoramic background location and sky shots as well as a re-configured LED Volume, known as the ‘J.’ 

The comprehensive guide to techniques and best practices, gleaned from 82 experts in VR, AR, MR, and XR technology and edited by VFX professionals Susan Zwerman VES and Jeffrey A. Okun VES, is now available for pre-order.

Update boasts new experimental features, including Orthographic Rendering and cinematic-quality volumetric rendering using SVT, refined workflows and capabilities across Lumen, Nanite, Path, Tracing and new standards suite for the next-generation virtual production - within nDisplay.

Production VFX supervisor Mohen Leo and Production VFX producer T.J. Falls picked up where they left off on Gareth Edward’s 2016 ‘Rogue One,’ helping deliver a whopping 3,843 visual effects shots, including the daring oceanic planet Narkina V prison escape, the Eye of Aldhani meteor shower, and the Fondor Haulcraft’s encounters with Fury-class Imperial interceptors, on the