And then episode 4 has…the dolphin.
The motion captured character made her debut at SIGGRAPH in 1989.
Gollum. Caesar. Thanos. And more.
The role of VFX in bringing this deathly tale to life.
Xsens is the exclusive supporter of #mocaphistory week.
T.J. Storm has been Godzilla, the Predator and now…Vader.
Usually, it’s actors who don motion capture suits, but here’s where the director suited up instead.
Method Studios’ Chris Kowal on what editing in VFX actually means.
Weta Digital’s Javor Kalojanov on being part of rendering research at the top-tier studio.
Early-career vfx artist Monika Batchelor on making the move from Australia to Hollywood.
Digital Domain’s Deke Kincaid on making everything ‘work like butter’.
Something was very different about the environments in the photo-real animated film.
Lion King, The Boys, the history of mocap, and more retro VFX.
What should a CG water tentacle should look like, anyway?
Behind the scenes of the stop-motion short, ‘Bone Mother’.
How Hellboy’s epic fight against 3 giants came to be.
fxphd is the exclusive sponsor of #gettingshotsdone and #myvfxjob weeks.
Lidar, shooting panos and textures 3 times a day, and closing the Bridge for just 2 minutes at a time.
And there’s one place you’ll be able to hear a lot about it…
And it involves getting a whole lot of VFX shots in-camera.
HeadShot A.I., iClone Unreal Live Link and a new shader.
Here’s what Glassbox was demo’ing at SIGGRAPH.
A nail-biting 90 seconds of invisible visual effects.
Sure, it’s related to the DVD release, but it’s fun to see so much cool on-set stuff.
How MPC modeled, groomed, simulated and styled Pumbaa’s CG hair and fur for ‘The Lion King’.