Spinning skip bins, seamless face replacements, and setting fire to Ryan Gosling
Here’s how VFX helped enhance the incredible practical stunts and SFX in ‘The Fall Guy’. From befores & afters magazine in print.
‘I’ve got a feeling Alex has always had that shot in his head’
How Framestore built a living, breathing and under siege Washington, D.C. for ‘Civil War’. From befores & afters print magazine.
The VFX challenges of ‘Challengers’
How tennis doubles, face replacements, machine learning, CG courts, balls and rackets, and even plexiglass helped make the stylized gameplay of the
Getting inside the mind of your CG character
Animation supervisor Brett Purmal on the lengths he and MPC took to find the right emotion behind Hanuš the space spider in
‘The build was similar to an ape with a lizard squished inside of it’
How Alt.vfx delivered the sinister Helen creature for ‘YuYu Hakusho’. A new excerpt from befores & afters magazine.
How to make a dragon
Behind the dragon by One of Us in ‘Damsel’. A new excerpt from befores & afters magazine.
How on set LiDAR scanning works
LiDAR and photogrammetry specialist company Visualskies breaks down its process. A new excerpt from befores & afters magazine.
The on set visual effects experience for invisible effects
The making of ‘Fargo’s fifth installment. An excerpt from befores & afters magazine.
‘Wouldn’t it be rad if we had fingers inside the mouth?’
The gulper from ‘Fallout’. A new excerpt from befores & afters magazine.
The enduring allure of the VFX of ‘Speed’
30 years of this masterpiece.
How to put Adam Sandler in space talking to a spider alien
From on-set to final visual effects in ‘Spaceman’. A new excerpt from befores & afters magazine.
Snakes, trains and paintovers
Here’s how production visual effects supervisor Adrian de Wet and on set visual effects supervisor Sean Stranks combined on The Hunger Games:
The art of shooting array plates
Photographic and virtual environment specialists PlatePros on what’s involved on set in filming car process plates and other camera array shoots. An
The on set VFX approach on ‘The Creator’ was different from most
The challenges of capturing gray and chrome balls, HDRIs, and reference imagery on the run-and-gun Gareth Edwards film. A new excerpt from
‘Jar Jar changed movies’
Actor and animator. Interviews by Ian Failes.
The dry-for-wet virtual production behind the stunning plane escape in ‘No Way Up’
How Dimension Studio used real-time tools and an LED wall for the sequence. A new excerpt from befores & afters print magazine.
A sense of (clever) scale
The secrets behind the scale and miniature effects in ‘I’m A Virgo’. A new excerpt from issue #15 of befores & afters
How to build (and destroy) a missile site in miniature
Behind this ‘Quantum Leap’ missile model build by Creation Consultants Inc. A new excerpt from issue #15 of befores & afters magazine.
When your miniature ship is actually CG
How Surpreeze leveraged their digital asset for ‘Haunting of the Queen Mary’ in an unusual way.
The Runestone castle in ‘House of the Dragon’ was a tabletop miniature
Here’s how Mattes & Miniatures made it: a special excerpt from the miniatures issue of befores & afters magazine.
When your octopus, jellyfish and manta ray all need to do arabesques
A new excerpt from the VFX tools issue of befores & afters magazine.
Giving ‘Spider-Man: Across the Spider-Verse’ that crucial hand-made quality
How Imageworks made the linework tool Kismet. A new excerpt from befores & afters magazine.
Behind the tool MPC built to allow for the transformations in ‘Transformers: Rise of the Beasts’.
A new excerpt from issue #14 of befores & afters magazine, which covers in-house VFX tools.
Collect them all!
Here's how to get your hands on every issue of befores & afters magazine!
‘It’s almost like a painterly process to bring in these aberrations’
The Deep Defocus toolset at Wētā FX. An excerpt from issue #14 of befores & afters magazine.
Issue #14 of befores & afters mag is out and goes deep into in-house VFX tools
From Spider-Verse to Transformers to the Little Mermaid: how bespoke tools brought these films to life.
Re-thinking the approach to creatures
Cinesite adopted new workflows to bring more flexibility to its creature pipeline for the latest incarnation of ‘The Witcher’. A new excerpt
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Industrial Light & Magic: 50 Years of Innovation
Wicked: For Good
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The Fantastic Four: First Steps
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Predator: Badlands
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Sinners
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