The bus in ‘Speed’ wasn’t supposed to land like a 747
But it did, and it was still spectacular.
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‘He lost his head’
How they made Keanu Reeves and Dennis Hopper fight atop that train in ‘Speed’.
The first big explosion in ‘Speed’ was very nearly a major disaster
And it was thanks to someone who thought they had missed their bus.
A new VFX featurette on Jordan Peele’s ‘Us’
Grady Cofer briefly breaks down ILM's doppelgänger work in the film.
Mocap, motion graphics and the sails of the Sydney Opera House
A motion captured dancer and Cinema 4D artistry made these projections possible.
Get ready to get excited about…contact sheets!
Why one VFX supe is obsessive about them, and why you should be too.
Creatures, fire and atmospherics: cooking up a ‘Game of Thrones’ VFX storm
A visual breakdown of Weta Digital's killer shots from the final season.
5 VFX and animation events not to miss at Annecy
Not long to go now...
How Ryan Reynolds was transformed into a furry yellow Pokémon
Facial capture and the actor’s awesome asymmetrical expressions helped the VFX team find the character.
4 reasons why the CG Pokémon in ‘Detective Pikachu’ were so well integrated into the film
One of those reasons: the crazy cute fur ball stand-ins.
Jar Jar Binks was nearly a practical suit and a CG head
All about that ILM Jar Jar test which proved the character should be all-digital.
‘It cost about $65 to have a cold pizza delivered in the middle of the night to Skywalker Ranch’
The intensive previs process on 'The Phantom Menace'.
The world already loved lightsabers, but then ‘The Phantom Menace’ made them even better
How new ways of shooting, new digital tools and lots and lots of roto resulted in the laser swords of ‘Episode I’.
How ILM’s work on ‘Hook’ led to ‘Phantom Menace’s’ podrace
Projection mapping played a key role in making those racers go fast. Real fast.
How VFX channeled ‘Back to the Future’ for ‘Endgame’s’ trip to New York
What needed to happen to make The Avengers watch past versions of themselves?
Those time suits in ‘Endgame’ were all completely digital
Every stitch, every crease, was CG.
Hey Thanos, what’s new with you?
The extra tools employed by Weta Digital and Digital Domain in crafting Thanos for ‘Endgame’.
Ageing Captain America to 119, and other adventures in ‘Endgame’ digital make-up
How Lola VFX shaped Tony Stark’s sickness, gave Hank Pym some hip, aged Captain America, and made Stan Lee young again.
Avatar: Fire and Ash
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Industrial Light & Magic: 50 Years of Innovation
How the right school helped this compositor land his latest credit on 'Invasion' season 3.
From classroom to credits, with Campus VFX