The VFX Emmy noms are out!
Congratulations to all the nominees.
Tumultuous titles: the crazy story behind ‘Waterworld’s’ opening moments
One of several memorable Universal logo take-overs, and it even involved a giant globe...
The making of ‘Chalk Warfare 4.0’
Watch the new short, and a behind the scenes featurette.
‘Medical websites, bullet hits and blast wounds – it’s pretty horrific’
UPDATED with VFX breakdown: ‘The Old Guard’ VFX supervisor Sara Bennett on what it took to make immortal mercenaries.
Check out this ‘Ghostbusters’ effects featurette
Yep, they talk about Slimer.
Retro RenderMan: shading food for ‘Ratatouille’
How Pixar made cheese and bread and grapes look good enough to eat.
Foundry launches Nuke Indie
Solo artists can now use the compositing tool on commercial projects; plus Foundry releases Nuke 12.2.
‘Stealth’ has the most memorable movie missile launch shot. Ever.
Here’s how it was made, including the last minute changes.
SIGGRAPH 2020 Computer Animation Festival Electronic Theater – the winners
It will be SIGGRAPH's first ever streaming CAF.
Behind the scenes with the on-set stand-ins in ‘His Dark Materials’
Framestore shares the puppetry, stuffies and laser pointer-guided rigs used to help make the show’s creatures.
Miniaturization secrets: Eric Brevig on ‘The Indian in the Cupboard’
Celebrate the VFX of the now 25-year-old movie.
Did you know the finale of Ghost used video effects?
A look back at Boss Film’s end Heaven sequence.
See Pixar’s Dylan Sisson in a new PreVIEW of VIEW Conference (and RenderMan!)
I'll be joining him for a chat about the latest RenderMan tech, including NPR.
A storm, a flamethrower and a snow hedge
SFX supe Jeremy Hays reveals his practical effects for The Equalizer 2, Once Upon a Time in Hollywood and Doctor Sleep.
Body of Work: Framestore bears (a lot of) bears
From Paddington to Pooh.
Remember that pin table map from ‘X-Men’?
Here’s how it was simulated, two decades ago.
When motion capture puppets were all the rage
A look back at Boss Film’s input device for Species’ Sil.
Weta Digital’s zero-G ‘Space Force’ chimp mocap included pushing an office chair around
The VFX studio also leveraged its extensive primate experience in bringing the season-favorite character to life.
Keeping production going, remotely
Epic Games gets practical with remote multi-user virtual production.
Retro Renderman: Reflections in ‘Ratatouille’
A look back at brick maps and radiance caches.
Body of Work: Scanline’s latest adventures in fluid sims
From Heart of the Sea to Hydroman.
Tales from on set: Lidar scanning for ‘Joker’ and ‘John Wick 3’
“You have to fight for your data.”
‘Die Hard 2’: the story behind that famous final matte painting pullback
An iconic effect by ILM and an iconic effect in VFX history.
‘Rise of Skywalker’s’ Pasaana chase took some heavy lifting
…of the aerial kind.
Six ‘Perfect Storm’ SFX stories
"After the second take, somebody gave me a baton."
Retro RenderMan: The hair and fur of ‘Ratatouille’
The star of the film had 1,150,070 hairs (and it wasn’t Linguini).
The ‘Apollo 13’ effects you might not know about
Including the time VFX supe Rob Legato used an Evian spray bottle for outer-space particles.
Get my new book in PRINT or on KINDLE.
Issue #65: The visual effects of The Electric State.
Issue #64: The visual effects of Monarch: Legacy of Monsters, s2.
Issue #63: The visual effects of 28 Years Later.
