For Thrillist, I wrote about some of the awesome ways effects were used in unusual ways to help make Jurassic World: Fallen Kingdom, including cat litter, a roller coaster and inflatable puppets.
I talked to Pixar for this issue of 3D Artist – it’s a pretty special one.
The latest VFX Voice magazine with Incredibles 2 on the cover is an issue I loved writing for – it includes a chat with Pixar producers for that film, plus VFX supes on ‘what’s in their kit’, coverage of Black Panther, Infinity War and Stranger Things 2.
If you just think for a second that all the compositing for Who Framed Roger Rabbit was done optically, it blows your mind. Check out my interview with ILM’s then optical photography supervisor Ed Jones about how that was done, on the 30th anniversary of the film, at Cartoon Brew.
A look behind the scenes at how Weta Digital, Imageworks, Animal Logic and ILM craft digital foliage, at 3D World magazine. Loved writing this one.
A look at some new animation software made for TeamTO’s new project, Mighty Mike & the Wild Bunch, at Cartoon Brew.
For Cartoon Brew, I talked to Encyclopedia Pictura about their neat DIY minisodes for Cartoon Network.
If you get a chance to see Google Spotlight Stories’ latest VR experience, Piggy, do it. Or you can read about it in my piece at Cartoon Brew after I had a go of the short at Annecy and then spoke to director Jan Pinkava.
For VFX Voice, I asked Solo vfx supervisor Rob Bredow about some of the rear projection work for the cockpit scenes.
For VFX Voice, my newest piece on Deadpool 2 – the huge convoy sequence!
Here’s my coverage of the visual effects for Solo’s L3, Rio and Lady Proxima at Thrillist.
For Spark CG Society, I asked ILM’s Rob Bredow about the opening speeder chase in Solo.
For 3D Artist magazine, I dived into ZBrush 2018 with a bunch of the beta testers. So much great imagery here to check out.
SIGGRAPH’s tech papers often herald new features in vfx and animation tools. I highlighted a few for Cartoon Brew.
For Side Effects, I talked to Method Studios about their cymatic effects work done in Houdini for Black Panther. It’s awesome when science guides the art.
For Cartoon Brew, I asked Framestore how they completed the CG Colosuss for Deadpool 2.
I’ve been a regular attendee at Trojan Horse Was a Unicorn for a few years now. Formerly in Portugal, THU is landing in Malta this year, and the location looks stunning. What’s exciting is, you can enter the Golden Ticket Challenge art competition to get there yourself. There are two categories – student and professional…
There’s always so much great film work around that’s invisible, and for 3D World magazine, I highlighted a few recent releases. My favourite bit is this feature image which just has the sand bags for a deer that will be later added in for the film, Three Billboards.
For 3D World magazine, I talked to vfx supe Everett Burrell about the making of Netflix’s Altered Carbon – an amazing show.
It’s very nearly the 30th anniversary of Ron Howard’s Willow, a huge effects film full of practical fx, miniatures, optical composites, matte paintings…and digital morphing. This was ILM’s big breakthrough into 2D image manipulation. I recently wrote about for VFX Voice magazine, and you can check out that article here.