Why one VFX supe is obsessive about them, and why you should be too.
A visual breakdown of Weta Digital’s killer shots from the final season.
Not long to go now…
Facial capture and the actor’s awesome asymmetrical expressions helped the VFX team find the character.
One of those reasons: the crazy cute fur ball stand-ins.
All about that ILM Jar Jar test which proved the character should be all-digital.
The intensive previs process on ‘The Phantom Menace’.
How new ways of shooting, new digital tools and lots and lots of roto resulted in the laser swords of ‘Episode I’.
Projection mapping played a key role in making those racers go fast. Real fast.
What needed to happen to make The Avengers watch past versions of themselves?
Every stitch, every crease, was CG.
The extra tools employed by Weta Digital and Digital Domain in crafting Thanos for ‘Endgame’.
How Lola VFX shaped Tony Stark’s sickness, gave Hank Pym some hip, aged Captain America, and made Stan Lee young again.
…and how past-Cap’s cowl was a late addition to the shots.
The story behind those portals, Iron’s Man finger-snap, and making the ‘mega’ blip.
Almost as compelling as the show itself.
How VFX took Mark Ruffalo to a whole new level of Hulk in ‘Endgame’.
‘I know this sounds crazy.’
Sulley will never be the same again.
…and where you can learn more about individual VFX roles.
Doesn’t story just mean…the script? Nope.
No coffee cups, though…
It’s not live-action and it’s not motion capture, so what is it?
Get up to speed with what’s happening in VFX in Montreal.
Stunts, practical effects and CG combine for that crazy sick scene in ‘What We Do in the Shadows’.
A VFX oral history of ‘The Mummy’s’ coolest action scene.