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• Pitch Black Appoints New Vice President of Operations

• Pixotope Integrates Unreal Motion Design, Updates Animation, Tracking, Colour

• Preymaker Opens Cape Town Studio, Launches Recruitment and Scholarship

• Preymaker Welcomes Producers Clairellen Wallin and Mike Pullan 

• Projective and LucidLink's Integration Enables Cloud Post-Production at Scale

• Qumulo and HPE GreenLake Scale the Post Environment at Origo Studios

• Qumulo Private Availability Launches its Cloud Native File System on AWS

• REALTIME Launches New Virtual Production and Development Division

• ReDefine Builds Crowds with Heart for ‘I Wanna Dance with Somebody’

• Riedel Acquires Inmotio’s LPM Tracking System

• Rising Sun Pictures Takes to the Open Sea for Manga Series ‘One Piece’

• Rose Hancock Joins Axis Studios as VFX Executive Producer

• Shutterstock Launches a Generative 3D API for 3D Scene Building with AI

• SIGGRAPH Asia 2023 – Looking Back at Sydney and Ahead to Tokyo

• SIGGRAPH Asia 2023 Celebrates a World of Animation in Sydney

• Student Filmmakers’ VES Award-Winning Film Visualises a Life in the City

• Survival, Disasters and Virtual Production on ‘No Way Up’

• The Imaginarium Studios Names Maeve Russell Head of Production

• The Mill and Kawasaki Wear Mullets to the Super Bowl

• Union VFX Moves its CG Pipeline to USD Format

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