News Stories

This Week in… Virtual Production: 5/20/26

At the Cannes Film Market, Mandela Pictures and Oceanus Media Global debuted stills from the mystery horror film “Bisikan Desa Gringsing: Whispers of Fatimah” — a three-way co-production between Indonesia, Singapore, and Malaysia that uses virtual production technology. Creative software developer Foundry unveiled new developments on its Nuke Stage application for end-to-end virtual production, in-camera visual effects, and high-resolution playback. And Beeble’s node-based AI compositing environment Canvas is designed for complex visual effects, post production, and virtual production workflows. These stories and more in this week’s top virtual production news.


Indonesia Virtual Production Horror Film ‘Whispers of Fatimah’ Launches First Images at Cannes Film Market
Variety

The Future of Content Creation: Virtual Production
Deloitte

Foundry’s Updated Nuke Stage Simplifies Virtual Production Workflows
ProVideo Coalition

Foundry Releases Nuke Stage Virtual Production Application
Animation World Network

A New Node-Based AI Compositor is Here for Your VFX and Virtual Production Pipelines
No Film School

Following Massive Netflix ‘Play Dead’ Sale, Nocturnal Entertainment Officially Launches
Los Angeles Times

Applications Are Open for the Second Edition of the Institute of Immersive Media and Netflix’s Virtual Production Training Initiative for Women in the European Creative Industries
Netflix

This Week in… Media Production and AI: 5/20/26

Filmmakers at the Cannes Film Festival are making the argument that AI tech should serve filmmakers, rather than replace them, stressing the creative benefits of artificial intelligence. “Hell Grind,” screening at Cannes, is billed as “the world’s first 90-minute sci-fi heist feature film produced entirely using Higgsfield AI.” Cannes also includes a collection of AI-generated shorts created from magazine photos published years ago. And startup TrueShort — which produces AI vertical videos intended for smartphones — has raised $12 million from Khosla Ventures, WndrCo, General Catalyst, and others.

The Filmmakers at Cannes Who Are Learning to Love AI
The Hollywood Reporter

Filmmakers Stress Creative Benefits of Artificial Intelligence at Cannes’ Kling AI Panel
Screen Daily

Watch the Trailer for the AI Sci-Fi Heist Feature Film Screening at the Cannes Film Festival
No Film School

AI-Created Vintage Adult Film Unveiled at Cannes
Variety

Most Mainstream Films Already Use AI. The New Oscars Rules Won’t Stop That
The Conversation

I Work in Hollywood. Everyone Who Used to Make TV Is Now Secretly Training AI
Wired (subscription required)

A Startup Making AI Movies Scored $12 Million from Khosla Ventures, Jeffrey Katzenberg, and Others
Business Insider (subscription required)

How AI Innovations in TV Are Meeting Brand Needs – and How They’re Coming Up Short
AdAge (subscription required)

What Agentic TV Buying Really Means, According to Disney, YouTube, Netflix, and More
Adweek (subscription required)

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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