Grady Cofer briefly breaks down ILM’s doppelgänger work in the film.
A motion captured dancer and Cinema 4D artistry made these projections possible.
Why one VFX supe is obsessive about them, and why you should be too.
A visual breakdown of Weta Digital’s killer shots from the final season.
Not long to go now…
Facial capture and the actor’s awesome asymmetrical expressions helped the VFX team find the character.
One of those reasons: the crazy cute fur ball stand-ins.
All about that ILM Jar Jar test which proved the character should be all-digital.
The intensive previs process on ‘The Phantom Menace’.
How new ways of shooting, new digital tools and lots and lots of roto resulted in the laser swords of ‘Episode I’.
Projection mapping played a key role in making those racers go fast. Real fast.
What needed to happen to make The Avengers watch past versions of themselves?
Every stitch, every crease, was CG.
The extra tools employed by Weta Digital and Digital Domain in crafting Thanos for ‘Endgame’.