The evolution of a VFX scene
How Hellboy’s epic fight against 3 giants came to be.
Take your VFX skills to the next level with fxphd
fxphd is the exclusive sponsor of #gettingshotsdone and #myvfxjob weeks.
The large-scale effort to replicate London’s Tower Bridge for ‘Far From Home’s’ finale
Lidar, shooting panos and textures 3 times a day, and closing the Bridge for just 2 minutes at a time.
It’s a big year for manipulating the ages of your favorite movie stars
And there’s one place you’ll be able to hear a lot about it...
I think I’ve seen a glimpse into the future of filmmaking
And it involves getting a whole lot of VFX shots in-camera.
The latest in digital character control from Reallusion
HeadShot A.I., iClone Unreal Live Link and a new shader.
Virtual production out of the box
Here’s what Glassbox was demo’ing at SIGGRAPH.
Breaking down that intense handheld rooftop liquidator shot in ‘Chernobyl’
A nail-biting 90 seconds of invisible visual effects.
The ‘Endgame’ cast and crew have gone into overdrive with behind the scenes imagery
Sure, it's related to the DVD release, but it's fun to see so much cool on-set stuff.
The very unique characteristics of a warthog’s hair: grooming Pumbaa
How MPC modeled, groomed, simulated and styled Pumbaa’s CG hair and fur for ‘The Lion King’.
So, here’s what happened: I totally went to the moon
Well, kinda, with the RTX-Powered Apollo 11 Demo at SIGGRAPH 2019, and some nifty A.I.
‘The Lion King’ and ‘The Mandalorian’s’ Jon Favreau is all-in on virtual production, real-time and LED walls
The director/producer/actor shared some details about the virtual production side of ‘The Mandalorian’ at the Unreal Engine User Group at SIGGRAPH.
The latest developments from ftrack
ftrack is the exclusive sponsor of #realtimewrapup week.
How ‘The Lion King’ filmmakers shot the ‘Everything the light touches’ scene
VFX supervisor Robert Legato breaks down how the iconic scene was filmed, virtually.
Projecting immersive and interactive imagery onto the underside of a dome, in real-time. Easy, right?
Weta Digital and 2n Design, and some neat real-time tech, combined for the Childish Gambino’s Pharos festival.
A fine line between grotesque and hilarious: making ‘The Mask’s’ landmark nightclub transformations
The film’s director and key ILM crew share their stories on ‘The Mask’s’ 25th anniversary.
It’s hard not to love the behind the scenes imagery in this Hulk making-of by Marvel
A 5 minute video with breakdowns and interview with VFX supe Dan Deleeuw.
How ILM was able to draw upon previous New York VFX material for ‘Far From Home’s’ web-swinging finale
'At ILM we've done a CG version of New York many times before.'
Exclusive excerpt from ‘The Virtual Production Field Guide’
How previs and virtual production meet, with Happy Mushroom’s Felix Jorge.
See befores & afters of Will Smith in ‘Gemini Man’
Go behind the scenes of Weta Digital’s work.
‘The sooner you kill me, the happier I’ll be’: a VFX oral history of Samuel L. Jackson’s shocking ‘Deep Blue Sea’ departure
The making of a classic death scene.
Find out the latest on Blackmagic’s Pocket Cinema Camera 4K
Blackmagic Design is the exclusive supporter of #vfxgeekout week.
Stranger Things 3’s Mind Flayer was played by a stuntman in red spandex and a shiny helmet
...and the final monster at the mall began as a beach ball.
Victoria Alonso on ‘the Marvel process’ and shaping the visual effects of their films
A preview of the Marvel exec's SIGGRAPH keynote.
Blender Guru and Poliigon creator Andrew Price on what he thinks is hot in Blender right now
Price also reveals how he decides on what Blender tutorials to make, and why donuts are so popular.
3D of a different kind: paper sculpting with Megan Brain
‘These are my shoulda...woulda...coulda...lessons.’
Where to read and find out about how ‘The Lion King’ was made
I'd give a spoiler warning, but you totally already know what happens in the movie.
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