A visual journey behind the VFX of Hydroman
How Scanline conjured the water creature for ‘Spider-Man: Far From Home’.
Han Yang on finding new 3D workflows for ‘The Lander’
Practical lessons on moving to real-time rendering.
Spidey’s suit for the ‘Far From Home’ charity scene is, yep, all-CG
...And here's why it was a different suit in the teaser trailer.
Re-visit the CG of 1994’s ‘Lion King’
'Stampede. In the gorge. Simba's down there!'
Victor Hugo’s Marvel covers, and his self-described ‘messy’ workflow
'Instead of thinking on modeling passes, texturing passes and lighting passes, I do illustration passes.’
The zaniest character from ‘MIB: International’ lives in a beard
Meet Bassam, and the VFX team behind it.
It’s like you’ve just stepped out of a…VR hair salon
‘Imagine Tilt Brush, which allows you to paint in 3D space, but for hair.’
Get to know dynamic animal sculpting, and Krystal Sae Eua
'I am fascinated by the form in the height of drama, or the apex of a movement.’
‘True Lies’ at 25: blowing up the causeway miniature
Behind the scenes of that Florida causeway scene in the James Cameron spy adventure.
Score extra RenderPoints with RebusFarm
RebusFarm is the exclusive supporter of #3dartistsrock week.
Inside the mind of hyperreal portrait artist Ian Spriggs
'It's almost like I've got to break down the complexities of what a human is into simple aspects.'
Fire and fury: blowing up King’s Landing gate
From miniature effects, to CG fire sims.
Make your own stunts with this physics-based animation tool
A preview of Cascadeur, and what they’ll be demo’ing at SIGGRAPH.
The Beauty of Minimalism
Mister Trouble never hangs around when he hears this Mighty sound: “Here I come to save the day!” That means that Mighty
SIGGRAPH chair Mikki Rose on the secrets behind the conference, and where to get the best tea in Downtown LA
Plus lots of insights into sessions at SIGGRAPH you might not already know about.
Get 15% off Boris FX’s Mocha Pro, Sapphire or Continuum
Boris FX is the exclusive supporter of #siggraph2019preview week.
The top 5 things you absolutely must see at SIGGRAPH 2019
(In which 5 things becomes a lot more than that...sorry).
How that insane illusion battle in ‘Spider-Man: Far From Home’ was created, and what didn’t make the final cut
Spoilers. Spoilers. Spoilers. Spoilers.
Exclusive: Inside Mill Film Adelaide’s new studio
Photos of the space, and notes from the architecture firm behind the design.
The making of Pixar short ‘Purl’
The film won Best in Show at this year’s SIGGRAPH Electronic Theater.
‘Catch-22’: the making of shot 127_1090
DNEG’s crew breaks down layout, anim, FX, lighting and comp for a single VFX shot from the George Clooney show.
‘I want to see it!’ ILMers on the time Gary Sinise first saw his missing legs in ‘Forrest Gump’
...and other stories about the film’s classic invisible VFX.
How to be discovered as a digital artist
What you need to know about The Rookies.
Come to Switzerland, learn about CG actors
ILM, MPC and Cubic Motion will be diving into their CG human and character workflows.
Getting to the final shot
Following along with DNEG’s design and FX sims process for the twins and Vungus shots in ‘Men in Black: International’.
VR set scouting, ‘throne lava’ and Drogon’s touching moment with Daenerys
Inside the meticulous planing on ‘Game of Thrones' that brought Emilia Clarke, Kit Harrington and a CG dragon together for the throne
The path to real-time previs
Looking back to Halon’s early work on ‘War of the Worlds’ and their most recent 'Mouse Guard' efforts.
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