The Facebook art director and expert in Quill shared his thoughts on the challenges of telling VR stories, and how to overcome them.
How DNEG tapped into practical puppetry in delivering digital characters for ‘The Dark Crystal: Age of Resistance’.
How Scott Eaton’s A.I. tool has taken his human figure drawings to a new level.
If you’re looking to get into VFX, directing or pretty much any creative endeavor, Huxley’s advice is a must.
Rare insights into the filmmaking process on films like ‘Iron Man’ and ‘TRON: Legacy.’
Here’s how the effects teams delivered them for the Cara Delevingne and Orlando Bloom series ‘Carnival Row’.
(Well, not really, but here’s how Image Engine did for ‘Far From Home’.)
Books can be weapons (obviously).
Ever wondered why films get previs’d AND postvis’d? Halon explains why the process was crucial for ‘Ad Astra’.
Greenscreened puppeteers and bikes combine like never before.
The stunts, practical effects and digital visual effects of ‘Hobbs & Shaw’s’ wild daisy chain finale.
VFX crew from ‘Titanic’ reflect on the saddest character of them all.
The studio also came up with several ways to simulate smashing glass pieces.
How the real glass stunts worked on set, and why most of the glass breaks were CG.
The film is back in cinemas for a super-short time.
Pick your niche, and stick to it (that’s just one thing you can do).
A step-by-step breakdown of the process, including behind the scenes images.
Traditional animators delivered 2D animation at key stages for the film.
A look at this student project from the Animationsinstitut at Filmakademie Baden-Württemberg.
The UK artist has some advice for making it as a freelancer.
That meticulous and invisible VFX work here was done by Method Studios.
How Davy Jones launched ILM’s on-set performance capture system.
Maarten Verhoeven on those important early days of freelancing.
CGTrader is the exclusive sponsor of #freelance3Dartist week.
A preview of the VIEW Conference masterclasses (the secret weapon of the conference).