Imagining a singing, dancing croc on set with Actor Capture
Actor Capture's mocap, visualization and use of Reallusion's iClone for 'Lyle, Lyle, Crocodile.'
On The Set Pic: ‘Mission: Impossible – Dead Reckoning Part One’
Tom Cruise on the set of Mission: Impossible Dead Reckoning Part One from Paramount Pictures and Skydance.
Behind the shoot and VFX for that dynamic train opener to ‘Citadel’
Behind the background plate and bluescreen train carriage shoots.
How that crazy HBO Mario Kart trailer on SNL was made
'I'll get you to Rainbow Road.'
‘The Super Mario Bros. Movie’ was huge, but what does VFX Notes think about it?
Hugo loved it! Ian...didn't quite get it (but thinks it looks amazing).
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.
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
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.
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 ‘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.
‘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.
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.
‘OK, but we want to see a test’
Behind Framestore’s CG dog Cosmo in ‘Guardians of the Galaxy Vol. 3’.
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.
Go inside ‘Guardians of the Galaxy Vol. 3’s’ Orgoscope
How Imageworks built the planetoid inside and out.
There are 17 stitches in that insane ‘Guardians of the Galaxy Vol. 3’ oner
Here’s how Wētā FX helped make it possible, and what things you should look out for in the background of the fight
‘The Way of Water’, ‘Across the Spider-Verse’, ‘Elemental’ tech talks and more revealed at SIGGRAPH 2023
The conference's 'secret weapon' Talks sessions are now available to browse through.
It certainly *looked* like Michelle Williams was playing the piano in ‘The Fabelmans’…
…but actually that was the result of some very neat visual effects work from Industrial Light & Magic.
How turning off the rasterize button helped make the ‘Tetris’ retro pixel art scenes possible
Go behind the scenes of the 8-Bit inspired graphics in the film with Coffee & TV.
The 2-day virtual production shoot that led to the most touching moments in ‘Guardians of the Galaxy Vol. 3’
Also, how the stunning CG dog Cosmo was created, and the insane 120 fps shoot behind that corridor oner fight scene.
The challenge of finger and hand removal (and 3D scanning a donkey)
Behind the scenes with Union VFX on ‘The Banshees of Inisherin’.
