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

• SIGGRAPH Asia 2023 Celebrates a World of Animation in Sydney

• Sony and Plateau Virtuel Develop Europe’s First Sony Crystal LED Virtual Studio

• Sony Virtual Production Tool Set Aligns Pre-Production and On-Set Workflows

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

• Students Leap into LED Virtual Production with Pocket Cinema Camera 4K

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

• Tashi Trieu Delivers on Post and Colour for ‘Avatar: The Way of Water’

• Technicolor Group Appoints David Conley as New MPC President

• The Imaginarium Studios Names Maeve Russell Head of Production

• The Mill and Kawasaki Wear Mullets to the Super Bowl

• Union VFX Opens First International VFX Facility in Montréal

• V-Ray 6 for 3ds Max, update 1, Enhances Artist Control and GPU Rendering

• V-Ray 6 for Houdini Advances with Solaris, Volumetrics and Lighting Developments

• V-Ray 7 for 3ds Max Supports 3D Gaussian Splats, Virtual Tours and Luminaires

• Whiskeytree Creates a Wartime World for ‘Masters of the Air’

• WLab, Brompton and Pixreal Expand Virtual Production Opportunities for Film

• ZEISS Camera Tracking Supports a Wider Array of Cine and Broadcast Lenses

• ZibraVDB Delivers Real-Time Volumetric VFX for Unreal Engine and Houdini

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