
VFX supes Kelly Port and Matthew Butler, who started in the very early days at Digital Domain, reflect on the visual effects studio’s longevity, which began with films like True Lies and Apollo 13.
VFX supes Kelly Port and Matthew Butler, who started in the very early days at Digital Domain, reflect on the visual effects studio’s longevity, which began with films like True Lies and Apollo 13.
Digital Domain has released its reel for the single-shot, and the plates, compositing work, stitches, and CG elements are fascinating to look at.
UPDATED: How the ‘Ant-Man: Quantumania’ visual effects team turned Corey Stoll into a cybernetically enhanced creature with an oversized head.
The Commodore Amiga 4000/040 was used by Digital Domain to help craft effects shots and review miniature shoots for Titanic, Apollo 13 and True Lies.
VFX supervisor Rob Legato looks back on 25 years since the film was released. And yes we talk about Propeller Guy!
And how one hilarious moment in ‘Black Adam’ done by the VFX studio didn’t make it to the theatrical cut.
How new developments in the studio’s Masquerade and Charlatan tools were part of its digital human work for She-Hulk: Attorney at Law.
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’
‘No Way Home’s’ VFX supervisor on crafting the Mirrorverse, orchestrating 3 different Spideys, and whether they could access any old 3D models from the past films (hint: no).