In “Captain America: Civil War”, Steve Rogers leads the newly formed team of Avengers in their continued efforts to safeguard humanity. But after another incident involving the Avengers results in collateral damage, political pressure mounts to install a system of accountability, headed by a governing body to oversee and direct the team. The new status quo fractures the Avengers, resulting in two camps, one led by Steve Rogers and his desire for the Avengers to remain free to defend humanity without government interference, and the other following Tony Stark’s surprising decision to support government oversight and accountability. Marvel Studios, ILM, Rise FX, and Method Studios show attendees how they created some of the movie’s most heart-stopping moments.

Find the answers to how Pixar artists created the studio's latest feature film, “Finding Dory". Top animators and technical artists from deliver a deep dive into the process of creating the summer hit, which required adoption of an entirely new back-end pipeline and cutting-edge technology. From character design and animation to lighting, CG water like you’ve never seen before and, perhaps most crucially, RenderMan REYES, and RIS, come find out how “Finding Dory” revolutionized Pixar Animation Studios from sea-level up.

Digital Domain worked on the three main aspects of "Deadpool": Colossus, Deadpool interacting with Colossus, and the Helicarrier. Creation of Colossus required five different actors: a motion-capture actor, a taller actor on the principle shoot, a voice-over actor, face model, and a Mova/facial-capture actor. The team used a proprietary real-time system to capture the facial movement of one actor and redirect to the Colossus character with perfect 1:1 geometry of usable data. They created the digi-double of Deadpool that was usable by all vendors on the project. And they created the Helicarrier; which is similar to Marvel’s X-Men carrier, but a bit more rustic looking in this anti-hero film.

Blur Studio created the film’s opening title sequence, provided previsualization for several action sequences, delivered an additional 37 VFX shots for two key scenes, and made the low-fi animated end titles. Blur also provided previsualization for the main car chase, the subsequent bullet-counting sequence, and the final fight scene. Previsualization was critical for staging the flow of each scene and determining which shots would work best in advance. One of the main tasks in Blur’s 37 VFX shots was integrating a fully CG version of a damaged Colossus, building on Digital Domain’s “clean” Colossus model. Blur developed an identical clean Colossus, which required extensive full-body and facial motion capture, and incorporated heat damage, scrapes, and other flaws.

This session focuses on development of "Mass Effect: New Earth", a first-of-its kind theme-park attraction at California’s Great America in Santa Clara. The experience features “holographic 3D”, using the world’s largest and highest-resolution 3D LED screens combined with cutting-edge mixed-field sound technology, motion seats, and 4D effects such as leg ticklers, air blasts, transducers, and CO₂. The panel discusses the technology used in the attraction and how multiple partners including BioWare, Cedar Fair, 3D Live, and Halon Entertainment collaborated to build it.