Making miniatures and props for ‘Asteroid City’
Trains, craters and vending machines.
The AI, volumetric and animation tools that helped make Pixar’s ‘Elemental’ possible
Neural style transfer and enhancements to Pixar’s curvenet animation tools were part of the toolset on the film.
Developing beautiful in-camera VFX for ‘Don’t Worry Darling’
Watch these new clips from FX WRX, and see more in befores & afters magazine.
On The Set Pic: ‘Heart of Stone’
Gal Gadot as Rachel Stone on the set of Heart Of Stone.
What makes up a ‘Transformers’ scene
How MPC orchestrated the first meeting between Noah and the Autobots in ‘Transformers: Rise of the Beasts’.
‘This was the first CG animated movie I’ve ever heard of that actually had a dedicated inking team’
Behind the brushstroke, inkline and frame rate tools made for ‘Across the Spider-Verse’, plus case studies on bringing the hugely complex Mumbattan
Looking back at early innovative VFX in commercials with Eric Durst
Motion control, electronic compositing, morphing!
Check out Cadence Effects’ splitscreen VFX for ‘Dead Ringers’
The VFX studio has posted a breakdown of their work.
See early glimpse behind the scenes of ‘Comandante’
This featurette showcases the partnership between Cooke Optics and EZtrack for camera movement tracking and lens and camera data recording.
On The Set Pic: ‘Extraction 2’
Director Sam Hargrave and Golshifteh Farahani as Nik Khan on the set of Extraction 2.
Machine learning at the VFX studio level
How Digital Domain has adopted deep learning and AI into its visual effects toolsets.
The different ages of Rocket needed for ‘Guardians of the Galaxy Vol. 3’ were made by ‘in-betweening’ CG models
Behind the scenes with Framestore on how they went from ‘runt’ to ‘adult’ Rocket.
Effects of heaven and earth: a more grounded Monkey King story
Behind the VFX of ‘American Born Chinese.’ American Born Chinese, now streaming on Disney+, is an adaptation of Gene Luen Yang’s graphic
The Left Angle founders discuss new comp and mograph tool Autograph
How the tool came to be (including where the names came from).
The ‘Across the Spider-Verse’ Spider-Punk character Hobie was animated with different frame rates for different parts of his own body and accessories
That was just one of the major challenges Sony Pictures Imageworks had to tackle on the film.
Going deep on muscle strains
Why Wētā FX changed its animation system and adopted new deep learning methodologies for ‘The Way of Water.’
Watch a whole heap of ‘The Last of Us’ VFX breakdowns in one place
Various VFX studio breakdowns and official making-of videos right here from Max, Weta FX, DNEG, Storm Studios, DD, ILPVFX and more.
‘You never know what the most complicated shot is going to be in your movie’
Industrial Light & Magic’s Todd Vaziri digs into the details on ‘Dungeons & Dragons’ (and also delivers us a VFX masterclass on
Behind the bluescreen shoot that brought ‘The Little Mermaid’s’ underwater scenes to life
A step-by-step guide from production visual effects supervisor Tim Burke on the making of the underwater scenes in the film.
VFX Notes breaks down all the big effects in ‘Stranger Things 4’
From a fiery Vecna, to bone breaking teenagers.
How ILM’s MORF tool nearly became the way the stop-motion dinos were motion blurred on ‘Jurassic Park’
On the film’s 30th anniversary, learn how the VFX studio was going to motion blur Tippett’s stop-motion puppets, before things went CG.
Virtual production on an indie budget
Behind the making of 'Molli and Max in the Future.'
‘OK, but we want to see a test’
Behind Framestore’s CG dog Cosmo in ‘Guardians of the Galaxy Vol. 3’.
The story behind RenderMan 25’s machine learning Denoiser
How the new denoiser works.
The art of eyelines
How Framestore maintained proper eyeline direction for CG characters and characters that needed eye augmentation on ‘Guardians of the Galaxy Vol. 3.’
Here’s how Luma Pictures sent a snowmobile flying into a snow cabin for ‘The Mother’
Plus, how a ‘simple’ paint shot on the show turned out to be one of Luma Pictures’ toughest.
‘The Last of Us’ VFX supervisor Alex Wang talks clickers, environments and THOSE giraffes
A detailed chat on practical and visual effects, and planning big scenes for the show.
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