Virtual production on an indie budget
Behind the making of 'Molli and Max in the Future.'
‘OK, but we want to see a test’
Behind Framestore’s CG dog Cosmo in ‘Guardians of the Galaxy Vol. 3’.
The story behind RenderMan 25’s machine learning Denoiser
How the new denoiser works.
How Monkey Chow made these mocap action clips for ActorCore
Making the ActorCore 'Run for Your Life' pack.
The art of eyelines
How Framestore maintained proper eyeline direction for CG characters and characters that needed eye augmentation on ‘Guardians of the Galaxy Vol. 3.’
Introducing CGI Champ: an interactive VFX quiz
Put your visual effects brain to the test!
Here’s how Luma Pictures sent a snowmobile flying into a snow cabin for ‘The Mother’
Plus, how a ‘simple’ paint shot on the show turned out to be one of Luma Pictures’ toughest.
‘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.
Connecting 3D scenes from DCCs to Autograph using USD
The next live event from Left Angle is Thursday June 8th.
How these animated dino NFTs are rendered in the cloud with Conductor
Behind the cute Claynosaurz eco-system, and the tech used to realize10,000 ‘Clayno’ 3D animations.
Be the first to get issue #1 in e-book form
Issue #1 is available right now as a print AND a digital Kindle e-book on Amazon.
Go inside ‘Guardians of the Galaxy Vol. 3’s’ Orgoscope
How Imageworks built the planetoid inside and out.
Catch a glimpse behind the scenes of ‘The Little Mermaid’ in this video
It comes from National Geographic, revealing some of the bluescreen 'tuning fork' filming.
Ian and Hugo debate the practical/digital debate with ‘The Last of Us’
It's the newest episode of the VFX Notes podcast!
There are 17 stitches in that insane ‘Guardians of the Galaxy Vol. 3’ oner
Here’s how Wētā FX helped make it possible, and what things you should look out for in the background of the fight (hint: Blurp
Real-time depth compositing with an AI-assist
Behind the system Wētā FX invented for ‘The Way of Water’.
How ‘Andor’s’ real London locations were the basis of Coruscant finals
Turning the Barbican into a Star Wars building.
On The Set Pic: ‘Fubar’
Behind the scenes of the train sequence.
Just add bats
On the 30th anniversary of 'Cliffhanger', a look at the, er, very efficient bat art direction for a particular scene.
‘If this is going to work, we really have to cover Paul Thomas Anderson shots’
The co-founder of Wonder Dynamics breaks down how the AI VFX tool Wonder Studio was made for storytellers.
Avatar: Fire and Ash
Get issue #52
Order my new book
Industrial Light & Magic: 50 Years of Innovation
Creativity meets technical curiosity: an FX TD’s role on Predator: Badlands.
From classroom to credits, with Campus VFX