We are excited to announce that our collaborative entry won 1st prize in the “VR movies” category at the first HTC Vive VR Content Competition.
PIXOMONDO Beijing supported Zanadu on the technical and post-production side, setting a new benchmark for 360° travel videos.
We also provided an interactive real-time navigation app that allows users to access and explore their favorite destinations.
Interested in joining our PIXOMONDO Toronto team? Apply online or meet with our recruiting team when they’re in your city. Here are some of the positions available:
- VFX Producer
- CG Supervisor
- Matte Painter
- Asset Lead Artist
- Senior Compositor
- Matchmove Artist
- Houdini FX Artist
PIXOMONDO will be touring cities around the world to meet local international talent!
Come meet with our team and see behind-the-scenes presentations.PIXOMONDO Talent Roadshow
Ready for FMX 2016?
This year’s conference will focus on the theme “Blending Realities” and will take place from April 26-29, Stuttgart, Germany.
Drop by our booth to meet with our recruiting team, and don’t miss presentations by our VFX Supervisors Sven Martin and Thilo Ewers.
The VFX of Bridge of Spies
Wednesday, April 27, Bertha-Benz-Saal, 14:00
See how we recreated the Cold War era in Steven Spielberg’s Bridge of Spies in this talk with VFX Supervisor Sven Martin.
Of Monsters and Magic – Creating the World of the Shannara Chronicles
Friday, April 29, Gloria 2, 12:00
VFX Supervisor Thilo Ewers shows how we brought the world of Shannara to life.
MFG featured PIXOMONDO Stuttgart’s Development Team as VFX Experts
PIXOMONDO’s development team is based in Stuttgart and consists of ten employees, a number that is expected to grow this year.
Despite VR still being a young market, PIXOMONDO has already been involved in numerous projects. The team has been creating a 360-degree visualizations for industrial customers, including an experience where customers can take virtual walks through a train.
“It’s always about immersion, to make something tangible as it could not be experienced before,” says senior VFX producer Jan Fielder.
Read the full and original article by Jan-Georg Plavec on the MFG website here.
Pixomondo Creating VFX for Game of Thrones with a Global Pipeline Fueled by Shotgun
Our VFX Supervisor Nhat Phong Tran gave two presentations at the Autodesk booth during NAB 2016.
BRIDGE OF SPIES: Sven Martin – VFX Supervisor
Art of VFX Vincent Frei interviewed PIXOMONDO’s VFX Supervisor Sven Martin about his experience working on feature film Bridge of Spies.
Featured below is a small excerpt – check out the original article here!
Can you tell us more about your collaboration with director Steven Spielberg?
Spielberg has a big trust in his long time collaborating team, therefore a lot of the communication was running about these guys. On a shooting day, right before the start of a new scene, all the HOD’s would gather around Steven while he is explaining the scene and defining the camera angles. Afterwards all departments started prep the set while he was working with the actors. I first met Spielberg in New York and I really enjoyed watching him work with the actors when rehearsing. You could really feel his long time experience here. Standing often close to his monitor setup while the camera was rolling, I was always very much impressed by his precise eye to every detail.
What was his approach about the visual effects?
When I joined the pre-production there were no fixed plans about the realization of the vfx scenes. The main task was to create a period East Berlin and New York and we explored different ways to accomplish this. We knew that the subway scenes will be shot against blue screen, as for the car scenes we also considered making it the traditional way, on a trailer. The realization of the ‘death strip’ was thought as a full digital solution along with a blue screen element of running people, but I suggested building the foreground and extending it from a certain distance on to capture all the lighting, snow interaction and bullet hits for real.
Based on a concept by the production designer Adam Stockhausen, I setup a previs scene for the location by re-projecting the painting onto geometry that was based on satellite images. With this, I could early show how the scene might look like and we could play with the different speed variations for the virtual S-Bahn train crossing the border.
Ingdan | The Greatest Gift
PIXOMONDO created a 2:30 minute concept video for Ingdan, a one-stop supply chain centre for online-to-offline services, linking entrepreneurs with the right suppliers and supporting them from inception through to fruition.
Goodstein and Director Georg Warga created the concept behind this production. Pixomondo “The Hype” took part in realising the director’s ideas by producing the live action shooting and supervising the entire post-production process with Executive Creative Director Aslan Malik.
The video was released with the message that Ingdan helps startups find partners to help create their smart hardware ideas. The goal was to create a concept that matches this image by creating a possible scenario set in the distant future of smart hardware.
Crouching Tiger, Hidden Dragon: Sword of Destiny
PIXOMONDO on the Netflix Original’s Standout VFX
Autodesk interviewed our VFX Supervisor Mahmoud Rahnama about the VFX behind the Netflix original sequel Crouching Tiger, Hidden Dragon: Sword of Destiny. Read some excerpts from the original article below!
How did you land ‘Sword of Destiny’ and what kind of work did you do?
After we finished working on Season One of Marco Polo, Netflix approached us again with this. They were very happy with our output and the type of work needed here was very similar: Massive set extensions, lots of environments. We created frozen lakes, forests, big cities and did a lot of character work, too, including cloth and hair simulation. Everything was handled in Maya.
How long were you on it and with how many?
The big environments and the amount of geometry that we had to deal with. The foreground elements for close up shots were shot in China but all the wide shots and set extensions were done digitally so, in other words, small sets, huge CGI set extensions. There were a lot of dynamic simulations, like the fight on a lake where we simulated breaking, shattering ice. We also had digi-doubles that had to fight, jump on roofs and so on.
What were your main challenges?
Roughly a year, I’d say. We had approximately 30 people on it, all out of our Toronto location. We use the same pipeline across our worldwide ‘Pixoverse’ so we share projects often but everyone was under the same roof for this. It made it feel special.
What Makes an Award-Winning Visual Effect?
Cinefex’s Graham Edwards interviewed a global panel of vfx experts, including our VFX Supervisor Randall Smith. Read some excerpts below:
In an age where seamlessly-integrated, photoreal effects are taken completely for granted, what constitutes a “good” visual effect?
In search of some answers, we asked an international panel of visual effects professionals this simple question:
‘How do you go about judging award-winning visual effects?’
It’s a question that could take us into some rocky territory. Luckily for us, Randall Smith, visual effects supervisor at Pixomondo, has sketched out a road map to help us on our way:
“I judge visual effects based on three criteria. First I’m looking for accuracy and photorealism — visuals so realistic that the viewer accepts what they are seeing, and their disbelief is momentarily suspended.
Secondly, I’m looking for pure, artistic expression. The best effects stand out when the artists aren’t held back by the limitations of a cost-effective solution, and instead aim towards new discoveries within their art.
Last — and most importantly — the measure of a great effect will always be its success in storytelling. It’s amazing that a Muppet, with a team of artist’s hands shoved up its backside, can create a compelling story with a huge range of emotion. In comparison, some of most expensive effects shots often fall flat, losing the narrative and thereby losing the viewer.”
Be sure to check out the original article at Cinefex Blog!
Themed Entertainment Division
David Garber | Executive Producer Themed Entertainment
As Executive Producer of Themed Entertainment, David Garber has lead Pixomondo into the arena of large format films for immersive and ride experiences for entertainment centers and theme parks, in both the U.S. and China.
The recent opening of the Wanda Entertainment Center in Wuhan, China prominently featured two of Pixomondo’s most successful ride films: Star Journey, a motion based, simulator ride and Hubei in the Air, a domed screen, flying ride. In continuing Pixomondo’s relationship with the Wanda Group, Garber has brought two fully CG flying theater films into the Pixomondo pipeline: Soaring Over Longjiang in Harbin, China and Jiangxi Porcelain Dream in Nanchang, China.
Garber has led the design and production team at Pixomondo in the creation of original film content for Immersive Dome experiences for EMC World 2013, Nokia at SXSW, and EMC2, the execution of projection mapping installations for Microsoft, Nokia and the
proposed Linq Lumiere for Las Vegas, LED walls for Trip Advisor in Times Square; and the 3D pre-visualization experience for the Dubai World Expo 2020.
BJ Farmer | Head of Production Themed Entertainment
As Head of Production for Themed Entertainment, BJ Farmer has guided Pixomondo through the successful production and installation of the two most popular attractions at the new Wanda Entertainment center in Wuhan, China; Star Journey, a motion based, simulator ride and Hubei in the Air, a domed screen, flying ride.
BJ is currently overseeing the production of two fully CG flying theater films: Soaring Over Longjiang in Harbin, China and Jiangxi Porcelain Dream in Nanchang, China.
Prior to producing Themed Entertainment, BJ, as visual effects producer for feature films, produced the effects for Fast and Furious 6, Beautiful Creatures, Journey 2: Mysterious Island, the Academy Award nominee Snow White and the Huntsman, Fast and Furious 5 and Green Lantern.