A whole lot of ‘Stranger Things 3’ VFX reels in one place
Get your breakdown fix right here.
It’s hard to look away from these incredible deep fake impressions
It's Arnie! It's Clooney! It's George W. It's...all of them.
The big VFX and animation talks at SIGGRAPH Asia Brisbane
ILM, Weta Digital, MPC, Pixar, Animal Logic and Framestore are all going to be there.
Simulating the ‘Inception’ miniature fortress collapse
One of these things is not like the other.
Procedural pores, modeling teeth, messy fighting and other new things Weta Digital did to turn Will Smith into a 23-year-old
Weta Digital also had to work with 40 times the usual data on ‘Gemini Man’.
‘Klaus’ is coming, and you’re going to be fascinated about how this 2D animated film was made
Animated in 2D, 'Klaus' has a unique approach to texturing and lighting.
A brief history of Will Smith’s incredible digital alter egos
The actor has been ‘fully CG’ and a digi-double in many of his films.
Motion controlled robots, controlled by…Maya!
How you can control industrial robots with the open-source Maya plugin Mimic.
You might be surprised how Thing was made for ‘The Addams Family’
'Casting' a hand was a tricky job.
The big films of 2019 that don’t feel like they have any VFX in them (but do)
'Joker' is one of the big films of the year that seems to eschew a lot of CG, but it's also another
‘We built a video game, the purpose of which was to make a movie’
A new featurette on the virtual production behind 'The Lion King'.
Do you love VFX breakdowns? Do you love ‘Stranger Things 3’? Then get ready…
These brand new reels from Rodeo FX show a lot of the process for their Mind Flayer work (and also exploding rats,
Observations from an ‘Ad Astra’ comp supe
Check out these MPC scenes from the film and commentary on the compositing challenges behind the work.
Giant pill bugs as wheels, multiple puppeteers in greenscreen, and a fast moving carriage…no worries
How that insane carriage rescue in ‘The Dark Crystal: Age of Resistance’ was pulled off with VFX by DNEG.
Shooting in the desert, using infra-red, and making a moon rover melee
How 'Ad Astra's' space pirates scene used real footage and CG effects for high impact. Plus: the fine art of visor reflections.
5 not-to-miss events at VIEW
...including an exclusive 'Frozen 2' preview.
Goro Fujita’s advice for storytelling in VR
The Facebook art director and expert in Quill shared his thoughts on the challenges of telling VR stories, and how to overcome
Replicating the puppeteering process, in CG
How DNEG tapped into practical puppetry in delivering digital characters for ‘The Dark Crystal: Age of Resistance’.
Neural networks, the human figure and art
How Scott Eaton’s A.I. tool has taken his human figure drawings to a new level.
What I’ve learnt as a filmmaker: frank advice from Neil Huxley
If you're looking to get into VFX, directing or pretty much any creative endeavor, Huxley's advice is a must.
Get a very different kind of ‘behind the scenes’ experience with these Jeff Bridges photographs
Rare insights into the filmmaking process on films like 'Iron Man' and 'TRON: Legacy.'
So…you need to do faerie wings, hey?
Here’s how the effects teams delivered them for the Cara Delevingne and Orlando Bloom series ‘Carnival Row’.
How anyone can make a Spider-Man suit, step-by-step
(Well, not really, but here’s how Image Engine did for ‘Far From Home’.)
That time John Wick went to the library
Books can be weapons (obviously).
‘Ad Astra’: Making a Pitt-fall in postvis
Ever wondered why films get previs’d AND postvis’d? Halon explains why the process was crucial for ‘Ad Astra’.
Why the bike chase in ‘John Wick 3’ was rehearsed four different times
Greenscreened puppeteers and bikes combine like never before.
How to catch a helicopter with a chain (and some fast and furious cars)
The stunts, practical effects and digital visual effects of 'Hobbs & Shaw's' wild daisy chain finale.
Avatar: Fire and Ash
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Industrial Light & Magic: 50 Years of Innovation
Creativity meets technical curiosity: an FX TD’s role on Predator: Badlands.
From classroom to credits, with Campus VFX