The incredible scale, forced perspective, in-camera and invisible effects in ‘I’m A Virgo’
Several techniques were used to sell the 12 to 13 foot tall main character, including a swathe of in-camera effects.
Blowing up model airplanes for a film (against hobby shop owner wishes!)
Plus, an amazing use for Nestlé Cremora creamer...
‘The Super Mario Bros. Movie’ was huge, but what does VFX Notes think about it?
Hugo loved it! Ian...didn't quite get it (but thinks it looks amazing).
Making miniatures and props for ‘Asteroid City’
Trains, craters and vending machines.
Looking back at early innovative VFX in commercials with Eric Durst
Motion control, electronic compositing, morphing!
The Left Angle founders discuss new comp and mograph tool Autograph
How the tool came to be (including where the names came from).
VFX Notes breaks down all the big effects in ‘Stranger Things 4’
From a fiery Vecna, to bone breaking teenagers.
Virtual production on an indie budget
Behind the making of 'Molli and Max in the Future.'
‘The Last of Us’ VFX supervisor Alex Wang talks clickers, environments and THOSE giraffes
A detailed chat on practical and visual effects, and planning big scenes for the show.
Ian and Hugo debate the practical/digital debate with ‘The Last of Us’
It's the newest episode of the VFX Notes podcast!
How ‘Andor’s’ real London locations were the basis of Coruscant finals
Turning the Barbican into a Star Wars building.
How ‘Handmaid’s Tale’ used virtual production to plan a train station scene
...and how it also used a truck stuffie to run over Elizabeth Moss!
We talk a lot about stop-motion time-lapses in our VFX Notes ep on Guillermo del Toro’s ‘Pinocchio’
(And we make the push for CG time-lapses, too!)
How this short film was a test bed for rigging and stylization tools, and new real-time compositing in Unreal Engine
Watch and learn from 'Little Bird'.
The process of postvis on ‘Cocaine Bear’
How do you add a bear to plates and help create a performance?
Bringing ‘Matilda’ to life with more VFX than you might at first realize
How Cinesite and other studios crafted the visual effects of Matilda.
Treating ships like characters in the final episode of ‘Star Trek: Picard’
The VFX of the Borg cube and Enterprise-D.
Urban Bradeško, aka the Explosions Guy, talks sparse GPU accelerated volumetric fluid solver Axiom
The latest episode of the befores & afters podcast is here!
A preview of FMX with Mario Müller
The VFX and animation conference is happening April 25-28.
Making vampire chimps for ‘Let the Right One In’
Behind the scenes with Ingenuity Studios.
The history of markerless motion capture company Move.ai
How Move.ai started, and what its latest mobile app lets you do with markerless mocap.
Here’s why the fluid sims on ‘The Perfect Storm’ were so hard to do
VFX Notes has a special guest -- Habib Zargarpour - who discusses his role at ILM on the oceans for 'The Perfect
VFX supe and director Adam Valdez on the new tech in his UE5 short ‘Brave Creatures’
The short utilized the new Path Tracer feature in Unreal Engine.
VFX supe Russell Dodgson explores three seasons of ‘His Dark Materials’ magic
From on-set puppetry, to CG work, to second unit directing.
How to plan for huge VFX sequences: the VFX supe and VFX producer on ‘Slumberland’
How do you get two characters to ride a giant flying goose, anyway?
How Blender Studio’s latest film, with a realistic human character, was made
Exploring the use of Blender's latest features to make 'Charge'.
A deep dive into Cinesite’s visual effects for ‘Wakanda Forever’
The latest b&a podcast is all about the film's Boston bridge chase and surrounding scenes.
Issue #60: The visual effects of Spider-Noir.
Issue #59: The visual effects of Pluribus
Issue #58: The visual effects of Fallout, season 2
