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’.
How that crazy Dragon’s Breath top-down shot in ‘John Wick 4’ was planned out
Behind the previs for the Paris apartment ‘oners’, by NVIZ.
A visual journey into DNEG’s dragon, unicorn and Tree of Life in ‘Fury of the Gods’
Go behind the scenes of these specific elements in the film.
Why Steven Spielberg decided to use LED walls for the first time on ‘The Fabelmans’
How the director relied on ILM’s StageCraft virtual production set-up for the New Jersey tornado sequence.
Inside ‘John Wick 4’s’ insane Arc de Triomphe scene and the top-down Dragon’s Breath gunfight
How the visual effects teams on the film helped orchestrate the mayhem.
From green guys to smokey simulations
How that stunning nichevo’ya battle in Shadow and Bone was made.
Here’s how that crazy tsunami scene in Knock at the Cabin was made
FuseFX breaks down the water sims and comp work involved.
‘1899’: Framestore’s virtual production take-aways
Key lessons the visual effects studio learnt on the impressive virtual production series.
How the dragonborn in ‘D&D’ came to life with a new facial animatronics motion capture system
The animatronics and make-up effects behind ‘Dungeons & Dragons: Honor Among Thieves.’
Explore the VFX work in s2 of ‘Carnival Row’ with Digital Domain and Goodbye Kansas
Both studios have published some fantastic VFX breakdowns of their work.
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