‘I still have red dust on my motion base’
The practical and digital effects that made sandworm riding possible in 'Dune: Part Two'.
A new challenge: the Offspring
How Legacy Effects crafted the practical creature effects for the Offspring in 'Alien: Romulus'.
The making of Rook in ‘Alien: Romulus’
UPDATED: Legacy Effects and Metaphysic combined to make the character. Excerpts from befores & afters magazine in print.
How miniatures were made on ‘Alien: Romulus’
Miniature effects supervisor Ian Hunter and Pro Machina teamed up for the film. An excerpt from befores & afters magazine in print.
‘Why don’t we just put a facehugger on top of a radio-controlled car and drive it around?’
The wide variety of practical facehuggers made by Wētā Workshop for Alien: Romulus. An excerpt from befores & afters magazine in print.
‘You’re going to get slime on yourself, OK’
How Legacy Effects crafted Xenomorphs, cocoons, Rook, the Offspring and a lot of slime for Alien: Romulus. An excerpt from befores &
Giving the chestburster its moment on screen
How Alec Gillis orchestrated the intense effects for the chestburster, and more, on Alien: Romulus. An excerpt from befores & afters magazine
Shooting on an LED volume…on film
Magnopus details its particular virtual production approaches on Fallout, which included capturing the LED wall scenes on 35mm film. An excerpt from
Behind the scenes of the practical and digital creatures and worlds of ‘Alien: Romulus’
Xenomorphs! Facehuggers! The chestburster!
In the volume with gladiators, chariots and horses
A round-table discussion on the virtual production challenges of Those About to Die. An excerpt from befores & afters magazine.
Motion bases, mo-co cameras and monofilament wires
Behind the techniques used to craft the dragon riding scenes in season two of House of the Dragon. An excerpt from befores
The way of water (in ‘Ripley’)
How Wētā FX delivered invisible effects for the gripping boat sequence. From befores & afters magazine in print.
‘As long as it’s invisible, it works’
How Whiskytree created the Paris establisher in Masters of the Air. From befores & afters magazine.
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
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Issue #66: The visual effects of Avengers: Endgame.
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