Foundry launches Nuke Indie
Solo artists can now use the compositing tool on commercial projects; plus Foundry releases Nuke 12.2.
‘Stealth’ has the most memorable movie missile launch shot. Ever.
Here’s how it was made, including the last minute changes.
SIGGRAPH 2020 Computer Animation Festival Electronic Theater – the winners
It will be SIGGRAPH’s first ever streaming CAF.
Behind the scenes with the on-set stand-ins in ‘His Dark Materials’
Framestore shares the puppetry, stuffies and laser pointer-guided rigs used to help make the show’s creatures.
Miniaturization secrets: Eric Brevig on ‘The Indian in the Cupboard’
Celebrate the VFX of the now 25-year-old movie.
Did you know the finale of Ghost used video effects?
A look back at Boss Film’s end Heaven sequence.
See Pixar’s Dylan Sisson in a new PreVIEW of VIEW Conference (and RenderMan!)
I’ll be joining him for a chat about the latest RenderMan tech, including NPR.
A storm, a flamethrower and a snow hedge
SFX supe Jeremy Hays reveals his practical effects for The Equalizer 2, Once Upon a Time in Hollywood and Doctor Sleep.
Body of Work: Framestore bears (a lot of) bears
From Paddington to Pooh.
Remember that pin table map from ‘X-Men’?
Here’s how it was simulated, two decades ago.
What you can do in Bifrost 2.1
Behind the latest release and the latest features.
When motion capture puppets were all the rage
A look back at Boss Film’s input device for Species’ Sil.
Weta Digital’s zero-G ‘Space Force’ chimp mocap included pushing an office chair around
The VFX studio also leveraged its extensive primate experience in bringing the season-favorite character to life.
How to crash a meteor
Creating a real impact with ActionVFX stock elements.
Keeping production going, remotely
Epic Games gets practical with remote multi-user virtual production.
Retro Renderman: Reflections in ‘Ratatouille’
A look back at brick maps and radiance caches.
Body of Work: Scanline’s latest adventures in fluid sims
From Heart of the Sea to Hydroman.
Tales from on set: Lidar scanning for ‘Joker’ and ‘John Wick 3’
“You have to fight for your data.”
‘Die Hard 2’: the story behind that famous final matte painting pullback
An iconic effect by ILM and an iconic effect in VFX history.
‘Rise of Skywalker’s’ Pasaana chase took some heavy lifting
…of the aerial kind.
Six ‘Perfect Storm’ SFX stories
“After the second take, somebody gave me a baton.”
Retro RenderMan: The hair and fur of ‘Ratatouille’
The star of the film had 1,150,070 hairs (and it wasn’t Linguini).
The ‘Apollo 13’ effects you might not know about
Including the time VFX supe Rob Legato used an Evian spray bottle for outer-space particles.
Here’s what it took back in ’95 to make a digital stunt double of Sylvester Stallone
How mocap and motion blur were critical for these early digi-doubles.
Framestore demos deepfakes in a great ‘back to basics’ explanation
And the video is LOL.