Find these reels from REALTIME, Untold Studios and Painting Practice, plus an amazing Twitter thread from director Tom Kingsley.
Author: Ian Failes
Also, behind the scenes of Framestore’s spaghettification and the Yggdrasil finale in season 2 of ‘Loki’.
Go behind the scenes with Freddy Chávez Olmos on ‘BYE-BYE’ and the actual AI and machine learning tools he used .
From Spider-Verse to Transformers to the Little Mermaid: how bespoke tools brought these films to life.
The character was all CG. Plus, how the VFX team handled teleportations, how they dealt with Brie Larson’s hair, filming Goose and Flerken scenes (and those kittens!), and the StageCraft LED volume work on the film.
See how the Italian submarine film’s visual effects were made, including the extensive use of camera tracking data from the shoot.
Behind ILM’s 700 invisible visual effects shots for Martin Scorsese’s ‘Killers of the Flower Moon’.
The work includes the Temporal Loom and (human) spaghettification VFX.
Check out greenscreen work, CG animation and even miniatures.
The ILM creative director also reflects on the importance of his past SIGGRAPH experiences.
Impossible Objects worked on this music video ‘Follow the Toad’ for PIA and EDM music producer Anymize, captured on a small stage with a 30 X 12 LED wall. Watch the video and behind the scenes here.
VFX supervisor joins the podcast to discuss making Big Time Rush’s music video for ‘Weekends’.
Check out the short featurette that showcases the performance capture and digital avatar work by Industrial Light & Magic.
In this EXCLUSIVE visual effects breakdown video, find out the ‘NYAD’ visual effects team helped turn Annette Bening into an open ocean endurance swimmer.
The virtual production short film was also covered in depth in befores & afters magazine.
Cinesite adopted new workflows to bring more flexibility to its creature pipeline for the latest incarnation of ‘The Witcher’. A new excerpt from issue #13 of befores & afters magazine.
How the ‘NYAD’ visual effects team helped turn Annette Bening into an open ocean endurance swimmer.
Louis Hofmann as Werner Pfennig in episode 104 of All the Light We Cannot See.
Looking at how CGI, stunts and practical effects blend together.
Trollocs and Fades!
Breaking down the opening chase scene.
This time, Artemple showcases its impressive VFX work for the David Fincher film, including for THAT opening scene.
Framestore took the domesticated bishop’s claw in Foundation to a new level. Read this excerpt from issue #13 of befores & afters magazine.
The new tools that Walt Disney Animation Studios used to give ‘Wish’ an old-school feel.
Wylie Co. has posted a VFX breakdown showcasing their Michael Fassbender digi-double visual effects work.
The Academy has two short ‘Behind the Oscars Speech’ videos with the pair.
A new podcast on making dinosaurs and other prehistoric creatures with ILM.