How the ‘2D’ Chip in ‘Chip n’ Dale: Rescue Rangers’ was actually 3D
And how MPC had to make Seth Rogen’s Uncanny Valley Bob character look as bad as possible.
Here’s how MPC made that photoreal Harold Ramis digital double
Behind the scenes in this new VFX breakdown of the studio’s Egon ghost for Ghostbusters: Afterlife. MPC stunned audience members a few
‘Those close-ups are where it all lives and breathes’
The directors of Prehistoric Planet–Andrew R. Jones and Adam Valdez–reveal the secrets behind the live-action/CG hybrid nature documentary series.
Getting up to speed (again) on ‘Sonic 2’
Inside MPC’s character animation for ‘Sonic the Hedgehog 2’.
How that massive ocean storm scene was created in the first episode of ‘Vikings: Valhalla’
MPC explains the planning, tank shoot and water sims required.
Behind the stuffies and stand-ins used to make ‘Clifford the Big Red Dog’
VFX supervisor Blair Clark reveals how stuffies all the way from a small red beanbag to a giant red structure puppeteered by
Video: MPC FIlm’s ‘The One And Only Ivan’ VFX breakdown
Virtual production was a key part of making the film.
How virtual production techniques were used on ‘The One and Only Ivan’
MPC VFX supe Nick Davis breaks down the techniques.
Watch MPC’s ‘Call of the Wild’ VFX breakdown
Digi-dogs, digi-bears and digi-environments.
What happens when you need Robert Downey Jr. to ride an ostrich?
How a drivable buggy with a gimballed saddle, and VFX, made it possible in ‘Dolittle’.
Get into character with Scar
Via MPC's newly released Scar reel from 'The Lion King'.
We would stop on a single frame and say, ‘Does this look like a painting?’
Behind the scenes of the practical, puppeteering and digital effects in ‘Tales from the Loop’.
Body of Work: MPC’s creatures and characters
From monsters to Mufasa.
MPC goes ‘Underwater’: VFX Breakdown
A new VFX breakdown for the Kristen Stewart film.
‘This is what Sonic fans seem to really want’: a Q&A with ‘Sonic’ director Jeff Fowler
The director talks Sonic's re-design and what it took to plan, shoot and post the film.
‘1917’ wins Best Visual Effects Oscar
Watch the acceptance speech here.
Go deeper into ‘The Lion King’
This breakdown from MPC reveals more.
The big effects moments in the one-shot ‘1917’
How MPC handled transitions, set-extended trench runs, orchestrated a plane crash, and turned an Olympic whitewater rafting course into a wild river
Iterating shots – virtually – for ‘The Lion King’
From early animation to virtual cinematography to final shots.
In appreciation of ‘The Lion King’s’ true star: the dung beetle
Plus other scene-stealing background characters from the film.
How blue velcro stubs became the magnificent wings of ‘Maleficent: Mistress of Evil’
The actors playing winged characters also practiced with stand-in backpacks that sprouted foam wings.
‘We built a video game, the purpose of which was to make a movie’
A new featurette on the virtual production behind 'The Lion King'.
Observations from an ‘Ad Astra’ comp supe
Check out these MPC scenes from the film and commentary on the compositing challenges behind the work.
How ‘The Lion King’ moved away from digital matte paintings to create fully CG vistas
Something was very different about the environments in the photo-real animated film.
The very unique characteristics of a warthog’s hair: grooming Pumbaa
How MPC modeled, groomed, simulated and styled Pumbaa’s CG hair and fur for ‘The Lion King’.
How ‘The Lion King’ filmmakers shot the ‘Everything the light touches’ scene
VFX supervisor Robert Legato breaks down how the iconic scene was filmed, virtually.
Avatar: Fire and Ash
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Industrial Light & Magic: 50 Years of Innovation
How the right school helped this compositor land his latest credit on 'Invasion' season 3.
From classroom to credits, with Campus VFX