Freefolk has promoted Rob Sheridan to VFX Supervisor in their Film and Episodic division and Paul Wight is now the company’s first Chief Operating Officer.
Golaem 9 includes a new animation engine, helps create new shots without simulations, and has better crowd control, helping artist improve the quality of their animated hero characters.
Adobe’s Generative Remove feature, based on the Firefly AI model, is now part of Lightroom, and the AI-powered Lens Blur tool has now become generally available with new presets.
V-Ray 6 Benchmark updates Chaos’ software for comparing CPU and GPU render capabilities, with test looping and a new test scene for direct NVIDIA CUDA/RTX GPU mode comparison.
Maxon One 3D software for motion design, broadcast and VFX has undergone an upgrade with new tools including Cinema 4D Particles, NPR rendering in Redshift and Red Giant Geo.
Pitch Black, parent company of VFX studios FuseFX, FOLKS, Rising Sun Pictures and El Ranchito, has announced the appointment of Mikaël Damant-Sirois as Vice President of Operations.
Autodesk has prioritised connected assets, data and workflows, and efficient new time-saving tools for the 2025 versions of its content creation software.
In Substance 3D’s most recent releases, two new Firefly-supported features have been integrated directly into Adobe Substance 3D design and creative workflows.
JAMM VFX and colour studio in Los Angeles is welcoming Alvin Cruz to serve as creative lead on projects across their client roster. Equipped with a rich background in visual effects.
Chaos announced the company’s first foray into AI tools through three new features, as well as the first look at a new visual storytelling product for 3D assembly and animation.
Foundry Modo 17.0 comes with performance updates to accelerate modelling, rigging, animation and interactivity, and a bundled Prime version of Octane for GPU rendering.
The Mill created an edgy Super Bowl ad titled ‘Mullets’ for Kawasaki’s first Super Bowl entry with a pipeline featuring Autodesk Maya, Houdini Vellum simulations and proprietary fur.
SIGGRAPH Asia 2023 conference and exhibition in Sydney attracted 5,690 attendees from over 40 countries, making a key contribution to the computer graphics industries.
After receiving a record number of entries to the AEAF Awards 2018 over the last several months we are now happy to be able to start announcing the Finalists in each of the 18 categories of competition.
Take a look below at the categories of Finalists so far. A huge range of studios are represented, some that have been part of the Awards for several years running and some that are newcomers. Some teams have just emerged on the scene – and in fact, the artists may be familiar but their company identity is new. Some of the organisations here have workforces in the hundreds and a worldwide reputation, and other companies keep their footprint small and are best known around home. It is great to have all of these participating in the Awards.
The number and diversity in the Games Trailers category have expanded quite a lot this time. You'll find some very creative work there with different styles of animation and story development. Teams are also finding their own styles and strengths in the Experience categories – VR Experience, VR 360 and Interactive 360 Experience. Some of these are difficult to post online but more should be there soon and involve interesting work. The Augmented Reality projects have increased as well, and more digital artists have been in demand over the past year for Live Event Installations and Projections.
It's great to see the Feature Film categories are attracting work from teams awarded intense, specialised sequences, as well as those tasked with a large number of shots across a movie. The two kinds of work call for different skills from teams, and are expected to make the Finalists' screening reel exciting. See it at the Awards Night on 30 August.
At the same time as selecting Finalists and putting the judging panel to work, we are uploading more of the projects every day – if you find you can't view a project that is named in the Finalists' List today, check again a little later. All entries with permission should be online by 25 July.
Augmented Reality
Falken Tyres AR - Alt.vfx Spiders Exhibition Augmented Reality - Eye Candy Animation Australian Botanical Gardens - Jurassic Garden - Eye Candy Animation Lunar New Year 2018 - VANDAL & Virtual Immersive
Commercials Animation
Alpenliebe - Seesaw - Cirkus Imagination is the Best Medicine - Cirkus David Jones - Now It Feels Like Christmas - Alt.vfx Tile - Lost Panda - Alt.vfx Toyota - Drive Happy - Alt.vfx Orange Brick road - Mighty Nice Foxtel Sports - New Holland Foxtel Now Box - New Holland Joy Story ‘Joy & Heron’ - Passion Pictures Intuit 'A Giant Story' - Passion Pictures Migros 'Finn' - Passion Pictures Very 'The List' - Passion Pictures What the crunch ...? Brandt Zwieback - Neverest Suzuki Swift - Jumbla Pokies Parasite - Jumbla Marks & Spencer 'Paddington and The Christmas Visitor'' - Framestore Mercedes-Benz S-Class 'King of The City Jungle' - Framestore Santander 'Piggy' - Framestore Betiquette - Sixty40 Lego: Build It Together - Sixty40 Nike Hypercourt - Heckler ESPN: LONZO / CURRY - 2C Creative Red Room Poetry - Kapwa Microsoft – Holiday Harmony - MPC Volkswagen Born Confident - MPC Edeka Christmas 2017 - MPC Continental Tyres - VANDAL Dairy Farmers of Canada- Merry Christmas - Bent Image Lab Ever After - 23lunes - Creative Animation Studio
Commercials VFX
Mazda CX-5 - Magic of Imagination - Alt.vfx Chevrolet - Trax - Alt.vfx Westpac - Help When It Matters - Alt.vfx Cura T3 - Bent Design Lab Honda Dream - Bent Image Lab Honda - Moving You - Blackbird Reserve Bank of Australia - Next Gen $50 Banknote - Cadre Pictures Ford Ranger FX4 - Cadre Pictures ASUS Zenbook - Collider and Blackbird Marks & Spencer 'Paddington and The Christmas Visitor'' - Framestore Mercedes-Benz S-Class 'King of The City Jungle' - Framestore "The Ball Makes Us More" Feat. FC Barcelona - Glassworks Amsterdam ACRF: Outsmart Cancer For Good - Heckler Legion - Amorphous - MPC FIJI Water - Drop - MPC US Navy – Sea to Stars - MPC Apple Unlock - MPC Flaconi "Forest of Beauty" - Neverest Feeling Strong | Clever Fit DC - Neverest Select Sector SPDRs - PlusOne VIA Rail's 40th Anniversary - Rodeo FX RAV4 GLOBAL LAUNCH VIDEO - Rotor Studios Toyota - Thin Ice - The Embassy Marvel Heroes - VANDAL NBC SPORTS: CHAMPIONSHIP SEASON - 2C Creative CMT: NASHVILLE SEASON 6 - 2C Creative Dunhill Filter & Mild - MFX Tianan Cyber Park-T5 - Dans Digital "Free Your Think" - Murdoch University - VANDAL
Education & Infographics
Medical Director Explainer - Chello Agency ACU - Student Advocacy Service - Chello Agency The Sir John Monash Centre - Action & Tactics Experience - Eye Candy Animation Microsoft Fluent Design System - Kapwa Through the Ruins of Ypres: Journey to Passchendaele - Latchkey Redballoon - Motionlab Westfield Newmarket - New Holland The Biosecurity Warrior - Studio Hackett MyHR Job Role Profiles - Synergy Group Australia
Black Panther - Busan Street Chase - Luma Pictures
Event Openers
CICLOPE South Africa 2018 - Glassworks Amsterdam VFX Festival 2018 Opening Titles - MPC TEDxSydney 2018: Humankind - Substance APDG Awards - Substance
Feature Film Animation
2:22 Graphic Sequences - Cutting Edge Paddington 2 - Framestore Bright - Method Studios (formerly Iloura) Maya the Bee: The Honey Games - Studio B Animation in association with Flying Bark Productions
Feature Films VFX
The Commuter - Cinesite Avengers: Infinity War - Cinesite Winchester - Cutting Edge Blade Runner 2049 - Framestore Guardians of The Galaxy Vol 2 - Framestore Thor: Ragnarok - Framestore Black Panther - Busan Street Chase - Luma Pictures Jumanji: Welcome to the Jungle - Method Studios (formerly Iloura) Bright - Method Studios (formerly Iloura) Wonder Woman - MPC The Greatest Showman - MPC Pirates of the Caribbean: Dead Men Tell No Tales - MPC Alien Covenant - MPC Jumanji: Welcome To The Jungle - MPC Blade Runner 2049 - MPC Thor: Ragnarok - Rising Sun Pictures Jumanji: Welcome to the Jungle - Rodeo FX Valerian and the City of a Thousand Planets - Rodeo FX Maze Runner: The Death Cure - Weta Digital Avengers: Infinity War - Weta Digital
M&M Elemental Guardians - 23lunes Creative Animation Studio
Game Trailers
Shadow of War - Friend or Foe Interactive Trailer - MPC M&M Elemental Guardians - 23lunes Creative Animation Studio Kitty Keeper - Candy Burger League of Legends - Kayn Character Reveal - Jumbla Assassin's Creed - From Sand - MPC League of Legends - Legends Never Die - Passion Pictures Civilisations - Plastic Wax Lego DC Super Villains - Plastic Wax Game of Thrones Trailer - Plastic Wax Game of Thrones: Conquest Rally The Realm - Plastic Wax Neverwinter: Ravenloft - Plastic Wax Ghost in the Shell: First Assault Online - Plastic Wax Hitman 2 - Plastic Wax Hitman 2 - New Holland Creative
Ident & Sting Broadcast
Sky News Business Rebrand - Cutting Edge Commonwealth Games Gold Coast 2018 Mascot Borobi - Cutting Edge Ballroom Dancing - The Amazing World of Gumball - Igor Bastidas Studio HBO Sand of Time - Mirari&Co Vivid Sydney 2018 - MISTER Channel 4 Giant - MPC Festival of Football - VANDAL A Different Lens - Jumbla
Interactive 360 Experience
Velocity Angels - Lucid Edge Camry WebGL Configurator - Rotor Studios Elton John Farewell - Yellow Brick Road Launch - Spinifex Group Rampage - Weta Digital
Photonic State - Vivid Sydney 2018 - TAFE NSW Design Centre Enmore
Live Event Installations & Projections
The Adventures of Snugglepot and Cuddlepie - Customs House at Vivid Sydney - Ample Projects Light For The Wild: a Film for Taronga Centenary Theatre 2018 - Ample Projects Plasma Reflection - Danny Rose Studio Inside Plasma - Danny Rose Studio Flower Power - Pop Culture - Danny Rose Studio CEEC - Dans Digital Osheaga - Rodeo FX Myer: Santaland Express - Sixty40 Virtual Vibration - MCA Projection at Vivid Sydney - Spinifex Group The Secret Life of Books - The Electric Canvas Luna Park at Vivid Sydney - The Electric Canvas The Billabong - The Sequence Group Yuejin Lantern Festival - VANDAL A Symphony of Lights 2018 Hong Kong - Artists In Motion
Music Video
Call Broken Arrow - At The Drive-In - Bent Image Lab Supplies - Justin Timberlake - Rodeo FX Diplo - Get It Right - Viskatoons Sola - Machine Translations - Jonathan Nix
Short Film
The Ventriloquist - Armchair Productions Two Bottles - Bent Image Lab Being Good - Flying Bark Singularity - MISTER Monster's Playground - Oh Yeah Wow Lost & Found - Andrew Goldsmith Reckless - Jennifer Quach and Yining The Endless - Edouard Calemard Negative Space - Max PORTER & Ru KUWAHATA
Student
Photonic State - Vivid Sydney 2018 - TAFE NSW Design Centre Enmore Boris-Noris - Laura-Beth Cowley - University of the West of England Natural Engineering - Sarah Muuray - JMC Academy Corporate Ladder - John Joseph Feeley - AIE The Good Deed - Title Sequence - John Power - RMIT
Romper Stomper (Titles) - Resin
Titles/Openers - TV
Grace Beside Me - Opening Titles - Cutting Edge Harrow - Cutting Edge Comtes de Barcelona - Counts of Barcelona - J A Duran 2018 I Heart Radio Music Awards - iTSPT! Romper Stomper - Resin Cycling CENTRAL on SBS - SBS Movie Mayhem with Marc Fennell - See Gee Studio Show Me the Movie! - Studio Hackett SBS The World Game - VANDAL & Frost. 2018 Tencent Sports - Vanta Collective 2018 NBA on Tencent - Vanta Collective 2018 Australian Open - Vanta Collective
TV Series
Happy! - axisVFX Neanderthal: Meet your Ancestors - Jellyfish Pictures Electric Dreams - Resin Game of Thrones season 7 - Rodeo FX Game of Thrones Series 7 - Screen Scene Post Productions Lost In Space Season 1 - Screen Scene Post Productions Todd Sampson's Body Hack 2.0 - silo6 Lost in Space - The Embassy
TV Series - Children
Minibeast Heroes: Eps 1-6 - Australian Broadcasting Corporation - ABC Education/R+D Guess How Much I Love You - SLR Productions Reggie & Friends - Studio Hackett Jar Dwellers SOS - Viskatoons The Deep 2 - Thunder and Lightning - A Stark Production (In association with DHX)
VR Experience
Antoine BOURDELLE's Sculptor's Studio - ArtofCorner Inside Manus - Cutting Edge Q-Ride - VR Experience - Cutting Edge Samsung - A Moon for All Mankind - Framestore Sky 4D VR - Framestore USC Shoah Foundation - The Last Goodbye - MPC Recycling Discover Hub - Rotor Studios
Jasper - UTS / Animal Logic Academy
VR 360
Volkswagen Golf - Experience the Future in 360 - Alt.vfx Uganda Schools for Life - Experience The Pulse Balmain: My City of Lights - MPC
Web/Viral
ABC Fierce Girls podcast: Animated promos - ABC Barley+ - Chello Simply Vital Health - Jason Poley Deadly Voices from the House - In The Thicket Zotac - Jumbla Fernwood - Jumbla KFC Youth Foundation - Jumbla Nokia Digital Health - Kapwa Outcomex - Motionlab RAV4 Global Launch - Rotor Studios Star Wars - Everything You Need to Know - See Gee Studio Solo - See Gee Studio Zero-Point Season Zero - Undergrowth Productions, Poke The Bear Animation I Am George - VANDAL Expand Your Horizons with Etihad - Sydney Opera House - In The Thicket Jasper - UTS / Animal Logic Academy
You can watch many of the finalists on the AEAF Online Festival where you can see more entries in this and all of the Awards categories. Better still come to theAEAF Awards Night on 30 August in Sydney, where you can see the full Finalists Showreel, meet all the artists and congratulate the winning teams.
AEAF is a celebration of VFX and Animation with a speaker program and awards evening.
AEAF takes place on 30 August, in Paddington, Sydney. Following a packed day of talks from the leading lights of the VFX industry, the AEAF Awards Night is a celebration of the best work by digital artists artists from around the world.
AEAF’s speakers include VFX Supervisors, Animation and Creative Directors, who will enlighten the industry with new, creative approaches to their work and insights into the projects they have contributed
'Game of Thrones' Series 7 Comes to AEAF Awards in Sydney
Keep your eyes on the TV Series category at AEAF. The well-known series 'Game of Thrones' has consistently called for top notch visual effects during its seven seasons. This year, AEAF has received work for the show from Screen Scene VFX in Ireland and Rodeo FX in Canada, both very experienced in effects for episodic television. Screen Scene has won several AEAF Awards for their work on the long-running series 'Ripper Street'.
The 7th season of Game of Thrones required Screen Scene VFX to work on over 250 VFX shots. The bulk of this work was on the epic Loot Train attack sequence in episode 4, 'The Spoils of War'. The team augmented mass fire FX, ash and embers, blood and gore and various weapon extensions into the scene, transforming it into a horrific inferno of death. The effect of the compositing looks very real and terrifying.
Rodeo FX returns to the fiercely battling ships on the open sea, requiring water FX and interactions as well as building the ships themselves, often in various stages of destruction as fires and flaming projectiles surround them. The team also extended the sea cliffs with massive, snow covered structures, and then engineered their destruction by compositing Rhythm & Hues' dragons into the video as they fly in from above, breathing fire and causing the frozen cliff extensions to collapse into the sea. The results are tremendous. www.aeaf.tv
Weta Digital's VFX Supervisor Matt Aitken presents his insights into the new techniques his team used in 'Avengers: Infinity War', including animation for Thanos and bespoke FX for Titan.
AEAF Welcomes VFX Supervisor Tom Wood from RSP as Speaker
VFX supervisor Tom Wood from Rising Sun Pictures in Adelaide will speak at AEAF about his most recent work leading the team in creature, environment and FX work for 'Thor: Ragnarok'.
Visual effects supervisor Tom Wood from Rising Sun Pictures in Adelaide, South Australia, is coming to speak at AEAF. Originally from England, Tom has an extensive career spanning three decades in leadership roles in the visual effects industry. He started his career at Cinesite in London working on such feature films as 'Event Horizon' in 1997 and 'Lost in Space', 1998. Progressing to the role of VFX supervisor at MPC, he worked for several years on movies including 'Harry Potter and the Chamber of Secrets' in 2002, Kingdom of Heaven 2005 and Sunshine in 2007.
Tom later worked as independent VFX supervisor on Prince of Persia: The Sands of Time, released in 2010, and Mirror Mirror. He relocated to Australia in 2012 to lead the visual effects teams on 'Mad Max: Fury Road' with Iloura. For his work on that project, he was nominated in 2015 for an Academy Awards in the Best Visual Effects category.
Most recently at RSP, Tom has led the team as Visual Effects Supervisor to deliver an extensive package of creature, environment and effects work for 'Thor: Ragnarok' Book Tickets
By the official close of entries on 30 June, AEAF Awards 2017 has received an unprecedented number of entries in the Feature Film VFX category from some of the world’s top visual effects and animation teams. All together, feature film entries include work from Cinesite, ILM, Framestore, MPC, Rodeo FX, Iloura and Weta Digital - some of which are yet to be entered and shown at any festivals elsewhere.
As a result AEAF organizers are anticipating some intense decision-making during the judging period, and also a lot of fun at the Awards Night in August when clips from all finalist projects across all categories are screened. Notes about some of these projects are included below, as available, and links to articles about others that we have featured on the Digital Media World website.
Be sure to attend the AEAF Awards Night to see breakdowns of the teams’ effects in all categories on the big screen on 16 August in Sydney at the Chauvel Cinema. This exciting event follows AEAF’s Perfect Day of Speaker sessions. Find all details here, and Booking information here.
For ‘Dr Strange’, a film that rolls fantasy, science fiction and spirituality together into one project, both ILM Singapore and Framestore have entered work. Framestore’s work includes many of the story’s signature Mandelobrot sets, dream-like, kaleidoscopic interior shots that fold the environments, pulling them apart and re-configuring in complicated patterns around the characters. Because of the amount of movement within the whole of the detailed set, nearly everything needed to be animated.
Doctor Strange uses Eldritch magic to battle his nemeses Kaecilius and an army of Zealots. The magic is light-based, producing sparks and energy. After trying several techniques, the team used a CG set-up in Houdini to control the length, curvature and intensity of each spark.
The astral plane is home to Dr Strange’s astral form that exists in the real world, although not visible to people, and was depicted by a transparent character on-screen as established in the comics. Framestore used transparency, backlighting techniques and particles to create the look on screen. His own Cloak of Levitation is in fact a fully-formed character with its own personality, which can often be seen flying about alone. The team needed to animate the cloak with enough charisma, without looking cartoony.
‘Fantastic Beasts and Where to Find Them’ was one of the biggest films all year for VFX studios around the world. Rodeo FX and Framestore entered their work into AEAF. Framestore was responsible for five of the film’s magic beasts, and also Newt Scamander's suitcase, the key prop in the film that releases the creatures into New York City. The team worked on animation tests in previsualisation to get their creatures moving, looking and acting as required, making it easier to visualise how they would fit into the scenes. Once they passed the tests, a large team of animators worked on postvis for the important scenes.
Work from Rodeo FX, first-time entrant, on this movie is described in detail here.
‘Guardians of the Galaxy 2’ was another VFX heavy film released in 2016. Weta Digital and Framestore entered shots. The Framestore team created the look and led the animation for the Rocket the wise-cracking Raccoon, as they did in the first ‘Guardians’ film, and for his new companion Baby Groot. They produced the long, single shot opening sequence that required several simulations throughout, and a dynamic chase through three space environments in which ships, animated to demonstrate speed, dodge asteroids and weave between ribbons of plasma.
‘Deepwater Horizon’ is a completely different type of project that demanded convincing, realistic looks based on live action plates for a major undersea mining operation. Although it depicts real events within a true story, the film is a drama and must bring the characters to life. ILM Singapore and Iloura have both entered their shots into AEAF.
Read about Iloura’s expert work on this movie here.
AEAF Awards is excited to receive work on the Academy Award-winning film ‘The Jungle Book’ from two studios – MPC and Weta Digital. Beyond the VFX vendors’ truly impressive environment building, creature development and animation, the use of virtual production techniques allowed the filmmakers a large degree of control over the final appearance of the movie in spite of their decision to shoot nearly all of the live action on bluescreen sets.
In advance of the shoot, each scene was prepared at MPC, camera moves designed, animal characters roughly animated, detailed lighting plans made, and models of terrain and trees arranged into technical plans. VFX Supervisor Adam Valdez and VFX Producer Philip Greenlow travelled from London to LA to help visualize and plan the script and storyboard development and guide the filming on set. MPC’s visual effects team developed characters, worked out how they would talk, and began crafting the movie’s full CG environments.
More than 800 CG artists worked for over a year animating over 54 species of animal, crafting full CG environments, and simulating earth, fire and water. MPC built Baloo the bear, Mowgli’s wolf family, Bagheera the panther, Kaa the python, and the tiger Shere Khan including bone, skin and hair. 54 species of animals and 224 unique animals were created and new tools written to simulate muscles, skin and fur. For each shot and each movement, animation artists followed research in animal behavior, used finely tuned animation tools to hand animate the jungle creatures.
The jungle involved creating a wide variety of plants, trees, vines and rocks based on thousands of photographs of real locations in the Indian jungle resulting in a massive library of resource material. Each scene is handcrafted plant by plant, detailed down to thousands leaves and vines plus rivers, mudslides and grasses. Contributing to 80% of the frame 100% of the time, the jungle itself is the single biggest creation in the movie
MPC has also entered the 1,100 shots they created for ‘Passengers’ and the more than 1,000 extremely beautiful and unusual shots designed and created for ‘Ghost in the Shell’. Read Digital Media World’s in-depth article about ‘Passengers’ here, and about ‘Ghost in the Shell’ here.
Cinesite’s work on ‘Assassin’s Creed’, led by VFX Supervisor Christian Irles, includes hand-to-hand combat scenes, leaps between buildings, sword fights and other stunts, for which the filmmakers wanted a very practical treatment. Nevertheless, CG and animation played a major role. One particular chase sequence ends with a prison carriage flipping over and another launching over a cliff. The shots involved the production and compositing of multiple live action plates, special effects and Cinesite’s digital augmentation.
When the wagon falls over the cliff, a full CG cliff was modelled and textured, and the Spanish desert extended, to enhance the original photography and achieve full CG shots. Digital versions of the main characters and the prison wagon were also required. There are also CG weapons and many, many layers of dust and debris FX throughout the sequence. Roto-animation models of the actors were used in shots with multiple plates to ensure correct scale.
Other Cinesite FX included a breakout from Abstergo Industries. Set extensions and CG weapons were added to complete the heavy battle between the Assassins and Abstergo Industries guards in the Animus Project laboratory. Cinesite also recreated an extensive London environment for the final sequence of the film. The camera starts outside the Freemason’s Hall and in a single camera move we go from there all the way to the top of another building four blocks away to reach the Assassins on the rooftop.
‘Ghostbusters’ is also at AEAF Awards with work from MPC and ILM Singapore. Led by VFX Supervisor David Seager, MPC’s Vancouver team completed more than 250 shots focused on the finale and Times Square in the 1970s, a 2D no-ghost cartoon, a 300ft tall 3D character and FX work.
For Times Square, the shoot took place on a green screen set with minimal set pieces, due to restrictions in the real location. Creating the surrounding buildings and environment required extensive research to capture period architectural detail for the fictional Mercado building exterior, lobby and upper floors.
MPC created the final monster form of the ghost Rowan as a giant recreation of the classic no-ghost logo. A 2D artist animated the logo which was then composited into the backgrounds of the Mercado lobby and finally transformed into a 300ft tall, full 3D animated character. The challenge lay in integrating a simplistic, art-directed cartoon character into photographic plates. MPC modelled the character as if he had an underlying cartoon anatomy that had been wrapped in a loose cloth, giving him a secondary anatomical motion with traditional muscle, fat and skin simulations giving the ghost more realistic features. To achieve the proper sense of scale, a high polygon count cloth simulation was created on the final surface around the cartoon.
MPC’s FX work included proton streams and ghost emanations combining fluid and particle simulations, a giant ghostly portal and massive destruction FX. A pipeline was built for the proton streams to allow enough control to define their shape, to which chaotic lightning effects were added before passing these elements to compositing.
More Feature Film Contenders
At AEAF Awards also look for and Weta Digital’s entries for new films ‘Valerian and the City of a Thousand Planets’ and ‘War for the Planet of the Apes’, and for Iloura’s work on the thriller ‘John Wick: Chapter 2’. Further to ‘Deepwater Horizon’ and Dr Strange’, ILM Singapore entered their shots for ‘Kong: Skull Island’ and the recent Star Wars film ‘Rogue One’. www.aeaf.tv