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I’m pretty sure you can’t pack much more into this crazy weekend of visual effects in Vancouver
Did you see Spider-Man: Into the Spider-Verse and want to know how it was made? Did you see Mary Poppins Returns and wonder how they combined 2D animation and live action? Did you see Roma and not realise there were any visual effects in it at all? All those projects – and a lot more…
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Outlaw King’s invisible fx
For VFX Voice, a chat with the team behind the visual effects of Outlaw King.
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A seriously fantastic beast
A look at Framestore’s work for The Crimes of Grindelwald, at VFX Voice.
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Marwen’s digital dolls (which still utilised live action)
For Cartoon Brew, I broke down how Atomic Fiction (now Method Studios) made the digital doll scenes for Welcome to Marwen by still relying on some great live action and virtual production techniques.
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Isle of Dogs and VFX
Every single frame of Isle of Dogs was touched by VFX, making for a great combination between hand-animated stop-motion, sets, and digital artistry. Read more in my VFX Voice story.
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Dive deep into the visdev on animated shorts
For Cartoon Brew, I asked production designers and filmmakers behind a number of the animated shorts up for Oscar consideration about their process. Lots of great concepts and artwork to check out.
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Industrial Light and Transformer Magic
I am still obsessed with Transformer transformations. So I talked to ILM about Bumblebee for Cartoon Brew.
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New stunning ‘First Man’ VFX featurette
Just in time for the VFX bake-off, Universal has released a First Man VFX reel featuring the practical, miniature and digital effects work for the film. Check it out below: If you’d like to go further into the work, I talked earlier to visual effects supervisor Paul Lambert from DNEG and miniatures effects supervisor Ian…
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The CG hair of Aquaman, a surprisingly tough effect
I talked to ILM’s Jeff White about Aquaman’s CG hair requirements – a major challenge for the VFX studios on the film. Read it at Cartoon Brew.
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A whole new 3D World
The latest 3D World mag has a couple of my features in it: Weta Digital’s work on Mortal Engines, DNEG’s approach to animation, and more Stephan Fleet vfx diary insights.