
‘I’ll get you to Rainbow Road.’
Neural style transfer and enhancements to Pixar’s curvenet animation tools were part of the toolset on the film.
How MPC orchestrated the first meeting between Noah and the Autobots in ‘Transformers: Rise of the Beasts’.
Behind the brushstroke, inkline and frame rate tools made for ‘Across the Spider-Verse’, plus case studies on bringing the hugely complex Mumbattan city and parchment paper-based Vulture to life.
This featurette showcases the partnership between Cooke Optics and EZtrack for camera movement tracking and lens and camera data recording.
Behind the VFX of ‘American Born Chinese.’ American Born Chinese, now streaming on Disney+, is an adaptation of Gene Luen Yang’s graphic novel. In the …
Industrial Light & Magic’s Todd Vaziri digs into the details on ‘Dungeons & Dragons’ (and also delivers us a VFX masterclass on working with anamorphic plates).
A step-by-step guide from production visual effects supervisor Tim Burke on the making of the underwater scenes in the film.
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.
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 Wētā FX helped make it possible, and what things you should look out for in the background of the fight (hint: Blurp does some crazy stuff).
…but actually that was the result of some very neat visual effects work from Industrial Light & Magic.
Also, how the stunning CG dog Cosmo was created, and the insane 120 fps shoot behind that corridor oner fight scene.