Solo artists can now use the compositing tool on commercial projects; plus Foundry releases Nuke 12.2.
Here’s how it was made, including the last minute changes.
It will be SIGGRAPH’s first ever streaming CAF.
Framestore shares the puppetry, stuffies and laser pointer-guided rigs used to help make the show’s creatures.
Celebrate the VFX of the now 25-year-old movie.
A look back at Boss Film’s end Heaven sequence.
I’ll be joining him for a chat about the latest RenderMan tech, including NPR.
SFX supe Jeremy Hays reveals his practical effects for The Equalizer 2, Once Upon a Time in Hollywood and Doctor Sleep.
From Paddington to Pooh.
Here’s how it was simulated, two decades ago.
Behind the latest release and the latest features.
A look back at Boss Film’s input device for Species’ Sil.
The VFX studio also leveraged its extensive primate experience in bringing the season-favorite character to life.
Creating a real impact with ActionVFX stock elements.
Epic Games gets practical with remote multi-user virtual production.
A look back at brick maps and radiance caches.
From Heart of the Sea to Hydroman.
“You have to fight for your data.”
An iconic effect by ILM and an iconic effect in VFX history.
…of the aerial kind.
“After the second take, somebody gave me a baton.”
The star of the film had 1,150,070 hairs (and it wasn’t Linguini).
Including the time VFX supe Rob Legato used an Evian spray bottle for outer-space particles.
How mocap and motion blur were critical for these early digi-doubles.
And the video is LOL.