https://vfxblog.com/portfolio/test/2019-11-21T02:23:06+00:00monthlyhttps://vfxblog.com/2019/03/19/announcing-befores-afters/https://vfxblog.com/wp-content/uploads/2019/11/69179-img_8267-1.jpgimg_8267-1https://vfxblog.com/wp-content/uploads/2019/11/f3bb5-img_8267.jpgimg_82672019-03-19T18:01:06+00:00monthlyhttps://vfxblog.com/2019/03/15/a-new-vr-animation-tool-for-first-timers/https://vfxblog.com/wp-content/uploads/2019/11/f434e-ollie.jpgollie2019-03-16T02:57:41+00:00monthlyhttps://vfxblog.com/2019/03/12/lego-movie-2-at-3d-artist/https://vfxblog.com/wp-content/uploads/2019/11/a201a-tda130.jpgTDA1302019-03-13T03:19:12+00:00monthlyhttps://vfxblog.com/2019/02/28/inside-the-fx-of-bird-box/https://vfxblog.com/wp-content/uploads/2019/11/a613f-birdbox_feature.jpgBirdbox_feature2019-02-28T20:37:21+00:00monthlyhttps://vfxblog.com/2019/02/26/new-3d-world-has-alita-dneg-and-more/https://vfxblog.com/wp-content/uploads/2019/11/0d5d8-3dworld_alita.jpg3DWorld_Alita2019-02-26T20:38:50+00:00monthlyhttps://vfxblog.com/2019/02/18/dean-deblois-on-the-tech-of-the-how-to-train-your-dragon-series/2019-02-19T00:46:00+00:00monthlyhttps://vfxblog.com/2019/02/13/3d-artist-and-alita/https://vfxblog.com/wp-content/uploads/2019/11/b3f8a-screen-shot-2019-02-14-at-4.58.24-am.jpgScreen Shot 2019-02-14 at 4.58.24 am2019-02-13T18:00:08+00:00monthlyhttps://vfxblog.com/2019/02/08/the-state-of-play-with-digital-actors/https://vfxblog.com/wp-content/uploads/2019/11/5cb61-digitalhumans_main-1280x600.jpgdigitalhumans_main-1280x6002019-02-08T19:11:53+00:00monthlyhttps://vfxblog.com/2019/01/29/the-vfx-of-mary-poppins-returns/https://vfxblog.com/wp-content/uploads/2019/11/8c13d-marypoppinsreturns_animation_stage.jpgnullEmily Blunt is Mary Poppins and Lin-Manuel Miranda is Jack in Disney’s MARY POPPINS RETURNS, a sequel to the 1964 MARY POPPINS, which takes audiences on an entirely new adventure with the practically perfect nanny and the Banks family.2019-01-29T23:24:59+00:00monthlyhttps://vfxblog.com/2019/01/28/new-virtucamera-app-to-make-your-films/https://vfxblog.com/wp-content/uploads/2019/11/30f49-gremlin_main-1280x600.jpgGremlin_main-1280x6002019-01-28T20:01:17+00:00monthlyhttps://vfxblog.com/2019/01/24/im-pretty-sure-you-cant-pack-much-more-into-this-crazy-weekend-of-visual-effects-in-vancouver/https://vfxblog.com/wp-content/uploads/2019/11/1c4d7-ent_951412_aec_prx_1995_forrestgump_3_1389686.tif_converted-1.jpgENT_95141,2_AEC_PRX_1995_ForrestGump_3_1389686.tif_convertedhttps://vfxblog.com/wp-content/uploads/2019/11/c200c-ent_951412_aec_prx_1995_forrestgump_3_1389686.tif_converted.jpgENT_95141,2_AEC_PRX_1995_ForrestGump_3_1389686.tif_convertedI'm hosting some old-school chats on Forrest Gump, and also Stargate, with actual VFX supervisors from the films.https://vfxblog.com/wp-content/uploads/2019/11/ea989-27982938_1993512500663956_398566071853937221_o.jpg27982938_1993512500663956_398566071853937221_oThe Diversity & Inclusion Summit is all day on Sunday 10 February.https://vfxblog.com/wp-content/uploads/2019/11/30e9c-roblegato1h.jpgRobLegato1hVisual effects supervisor Rob Legato.https://vfxblog.com/wp-content/uploads/2019/11/3795b-27907569_1992193617462511_464496457110305351_o.jpg27907569_1992193617462511_464496457110305351_oThe Career Fair will be packed with employers.https://vfxblog.com/wp-content/uploads/2019/11/b0330-27797423_1994219453926594_4745359021126445171_o.jpg27797423_1994219453926594_4745359021126445171_oThere will be https://vfxblog.com/wp-content/uploads/2019/11/ac780-27710214_1992192904129249_6343945736808225705_o.jpg27710214_1992192904129249_6343945736808225705_ohttps://vfxblog.com/wp-content/uploads/2019/11/380a2-sparkfx2019.jpgsparkfx2019https://vfxblog.com/wp-content/uploads/2019/11/66d6d-27788685_1994218010593405_944294746044971573_o.jpg27788685_1994218010593405_944294746044971573_o2019-01-25T03:14:04+00:00monthlyhttps://vfxblog.com/2019/01/23/outlaw-kings-invisible-fx/https://vfxblog.com/wp-content/uploads/2019/11/f894c-outlaw_king_still_6_final.jpgOutlaw_King_Still_6_final2019-01-24T03:52:27+00:00monthlyhttps://vfxblog.com/2019/01/16/a-seriously-fantastic-beast/https://vfxblog.com/wp-content/uploads/2019/11/8cdea-fantasticbeasts2_zouwu2_final.jpgFantasticBeasts2_Zouwu2_final2019-01-17T01:05:30+00:00monthlyhttps://vfxblog.com/2019/01/13/marwens-digital-dolls-which-still-utilised-live-action/https://vfxblog.com/wp-content/uploads/2019/11/489e4-marwen_vfx_main-1280x600.jpgMarwen_vfx_main-1280x6002019-01-13T22:18:01+00:00monthlyhttps://vfxblog.com/2019/01/09/isle-of-dogs-and-vfx/https://vfxblog.com/wp-content/uploads/2019/11/9eea8-iod_vfx_cottonwoolskyandexplosion_clingfilmsea.jpgIOD_vfx_cottonWoolSkyAndExplosion_clingFilmSea2019-01-09T19:09:38+00:00monthlyhttps://vfxblog.com/2019/01/08/dive-deep-into-the-visdev-on-animated-shorts/https://vfxblog.com/wp-content/uploads/2019/11/6cb5f-animatedshorts_cg_stopmo1_main-1280x600.jpganimatedshorts_cg_stopmo1_main-1280x6002019-01-08T21:04:07+00:00monthlyhttps://vfxblog.com/2019/01/07/industrial-light-and-transformer-magic/https://vfxblog.com/wp-content/uploads/2019/11/ce28a-bumblebee_b-ff-009r.jpgnullLeft to right: John Cena as Agent Burns and Bumblebee in BUMBLEBEE from Paramount Pictures.2019-01-07T19:40:12+00:00monthlyhttps://vfxblog.com/2019/01/03/new-stunning-first-man-vfx-featurette/https://vfxblog.com/wp-content/uploads/2019/11/e2f71-firstmanvfx.jpgFirstManvfx2019-01-03T22:16:56+00:00monthlyhttps://vfxblog.com/2018/12/30/the-cg-hair-of-aquaman-a-surprisingly-tough-effect/https://vfxblog.com/wp-content/uploads/2019/11/4a28b-amn-vfx-ilm-v005-1066r.jpgRGF6350_ilm_comp_v005.1066.tif2018-12-31T01:42:03+00:00monthlyhttps://vfxblog.com/2018/12/29/a-whole-new-3d-world/https://vfxblog.com/wp-content/uploads/2019/11/37acf-dvpipz9vaaankze.jpgDvpIpZ9VAAANkZE2018-12-30T06:01:11+00:00monthlyhttps://vfxblog.com/2018/12/20/how-to-animate-a-city/https://vfxblog.com/wp-content/uploads/2019/11/56ee5-mortalengines_city_4.jpgMortalEngines_city_42018-12-20T22:11:25+00:00monthlyhttps://vfxblog.com/2018/12/18/3d-artist-and-breaking-the-internet/https://vfxblog.com/wp-content/uploads/2019/11/0e577-tda127.cover_final2.jpgTDA127.cover_final22018-12-18T19:31:28+00:00monthlyhttps://vfxblog.com/2018/12/13/the-new-vfx-voice-is-out/https://vfxblog.com/wp-content/uploads/2019/11/4f0db-screen-shot-2018-12-14-at-8.00.29-am.jpgScreen Shot 2018-12-14 at 8.00.29 am2018-12-13T23:02:25+00:00monthlyhttps://vfxblog.com/2018/12/13/into-a-new-realm-of-animated-filmmaking/https://vfxblog.com/wp-content/uploads/2019/11/eb8ec-spiderverse_nap175_lm_v2.jpgSPIDER-MAN: INTO THE SPIDER-VERSE2018-12-13T22:32:06+00:00monthlyhttps://vfxblog.com/2018/12/12/5-things-that-rocked-at-siggraph-asia-tokyo/https://vfxblog.com/wp-content/uploads/2019/11/76dd8-dsc_2221.jpgDSC_2221https://vfxblog.com/wp-content/uploads/2019/11/4a564-dsc_2227.jpgDSC_2227https://vfxblog.com/wp-content/uploads/2019/11/71d97-dsc_1450.jpgDSC_1450Bao director Domee Shi.https://vfxblog.com/wp-content/uploads/2019/11/2e14d-dsc_1641.jpgDSC_1641Weta Digital visual effects supervisor Matt Aitken.https://vfxblog.com/wp-content/uploads/2019/11/fb9c2-dsc05098.jpgDSC05098https://vfxblog.com/wp-content/uploads/2019/11/0cbe8-img_6680.jpgIMG_6680The mixed reality view for Pac-in-Time.https://vfxblog.com/wp-content/uploads/2019/11/e54a9-keynote-kaname-hayashi-2.jpgKeynote Kaname Hayashi (2)Kaname Hayashi during our Q&A.https://vfxblog.com/wp-content/uploads/2019/11/106a9-real-time-live-2.jpgReal-Time Live! (2)VTubers during their Real-Time Live! presentation.2018-12-13T06:18:05+00:00monthlyhttps://vfxblog.com/2018/12/10/next-step-holograms/https://vfxblog.com/wp-content/uploads/2019/11/b38a3-screen-shot-2018-12-11-at-9.01.44-am.jpgScreen Shot 2018-12-11 at 9.01.44 am2018-12-11T00:05:38+00:00monthlyhttps://vfxblog.com/2018/12/05/vfx-bidding-and-budgeting-behind-the-scenes/https://vfxblog.com/wp-content/uploads/2019/11/2139a-vfxbiddingbudgeting_main-1280x600.jpgVFXbiddingbudgeting_main-1280x6002018-12-06T02:29:24+00:00monthlyhttps://vfxblog.com/2018/11/27/renderman-is-30-woah/https://vfxblog.com/wp-content/uploads/2019/11/88d5f-pix-2-tintoy.jpgPIX-2-TinToy2018-11-27T22:49:53+00:00monthlyhttps://vfxblog.com/2018/11/20/a-primer-on-virtual-production/https://vfxblog.com/wp-content/uploads/2019/11/79b64-virtualproduction_main-1280x600.jpgvirtualproduction_main-1280x6002018-11-21T01:29:06+00:00monthlyhttps://vfxblog.com/2018/11/16/how-crow-the-legend-felt/https://vfxblog.com/wp-content/uploads/2019/11/87218-crowvr2.jpgCrowVR22018-11-16T23:38:15+00:00monthlyhttps://vfxblog.com/2018/11/14/the-prince-of-egypt-henry-labounta-reflects-on-parting-the-red-sea/https://vfxblog.com/wp-content/uploads/2019/11/0b8e2-prince.jpgprinceWorth checking out: 'The Prince Of Egypt - A New Vision In Animation'. This art of book includes many behind the scenes stills from the Exodus sequence.https://vfxblog.com/wp-content/uploads/2019/11/969c7-henry.jpgHenryHenry LaBounta (centre) in Japan during a trip to promote The Prince of Egypt. He is with Michael Carter (left) and Richard Hamel (right) from SideFX. Image courtesy Kim Davidson.https://vfxblog.com/wp-content/uploads/2019/11/7f664-redsea.pngRedSea2018-11-14T21:22:20+00:00monthlyhttps://vfxblog.com/2018/11/11/compulsory-viewing-the-computer-animation-festival-at-siggraph-asia-tokyo-2018/https://vfxblog.com/wp-content/uploads/2019/11/86ce7-sa18-caf-best-in-show-award-loiseau-qui-danse-2.jpg'L'oiseau qui danse' - SIGGRAPH Asia 2018 CAF Best In Show Award'L'oiseau qui danse' - SIGGRAPH Asia 2018 CAF Best In Show Awardhttps://vfxblog.com/wp-content/uploads/2019/11/064f7-sa18-caf-best-student-film-award-reverie-2.jpg'Reverie' - SIGGRAPH Asia 2018 CAF 'Best Student Film Award''Reverie' - SIGGRAPH Asia 2018 CAF Best Student Film Awardhttps://vfxblog.com/wp-content/uploads/2019/11/7c042-sa18-caf-jury-special-award-vermin.jpg'Vermin' - SIGGRAPH Asia 2018 CAF Jury Special Award'Vermin' - SIGGRAPH Asia 2018 CAF Jury Special Award2018-11-12T01:27:42+00:00monthlyhttps://vfxblog.com/past-issues/2018-11-09T05:31:24+00:00weekly0.6https://vfxblog.com/current-issue/2018-11-09T05:31:03+00:00weekly0.6https://vfxblog.com/2018/11/08/chatting-with-first-man-vfx-supe-paul-lambert/https://vfxblog.com/wp-content/uploads/2019/11/67f23-firstman.jpgFirstMan2018-11-08T22:20:01+00:00monthlyhttps://vfxblog.com/2018/11/06/ten-things-we-learned-about-framestores-cg-stuffed-animals-for-christopher-robin/https://vfxblog.com/wp-content/uploads/2019/11/5945a-pinwheel_20180202_a3lineup_mk_v03_line_up_003_sr.jpgPinwheel_20180202_A3Lineup_MK_v03_line_up_003_SRCharacter line-up.https://vfxblog.com/wp-content/uploads/2019/11/60dd7-pinwheel_20171026_bearjumper_v001c_bk.jpgPinwheel_20171026_BearJumper_v001c_BKPooh model.https://vfxblog.com/wp-content/uploads/2019/11/90e91-pinwheel_20170811_piglet_forest_v002_mm.jpgPinwheel_20170811_Piglet_Forest_v002_MMhttps://vfxblog.com/wp-content/uploads/2019/11/63f2d-pinwheel_20170811_eeyore_forest_v002_mm.jpgPinwheel_20170811_Eeyore_Forest_v002_MMhttps://vfxblog.com/wp-content/uploads/2019/11/2b515-pinwheel_20170329_forestpath2_v003_mm.jpgPinwheel_20170329_ForestPath2_v003_MMFramestore concept art.https://vfxblog.com/wp-content/uploads/2019/11/a579c-hd_xl_turntable.jpgHD_XL_turntablePooh turntable.https://vfxblog.com/wp-content/uploads/2019/11/10beb-tfg0030_f1175.jpgTfg0030_f1175https://vfxblog.com/wp-content/uploads/2019/11/2272a-rse000_0215_f1076.jpgRse000_0215_f1076Eeyore, voiced by Brad Garrett.https://vfxblog.com/wp-content/uploads/2019/11/f0c08-mon000_0403_f1054.jpgMon000_0403_f1054https://vfxblog.com/wp-content/uploads/2019/11/de3f5-mhf000_0100_f1060.jpgMhf000_0100_f1060Piglet, voiced by Nick Mohammed.2018-11-06T11:16:09+00:00monthlyhttps://vfxblog.com/2018/11/05/gorillaz-in-cg/https://vfxblog.com/wp-content/uploads/2019/11/fbcd5-gorillaz_gshock7.jpgGorillaz_Gshock72018-11-05T20:54:04+00:00monthlyhttps://vfxblog.com/2018/11/01/tech-papers-the-secret-to-siggraph-asia-success/https://vfxblog.com/wp-content/uploads/2019/11/8e88e-hairvae-teaser-2584526436-1541056630128.jpghairvae-teaserImage from '3D Hair Synthesis Using Volumetric Variational Autoencoders', ACM Transactions on Graphics (Proc. SIGGRAPH Asia), December 2018 Shunsuke Saito, Liwen Hu, Chongyang Ma, Linjie Luo and Hao Li. 2018-11-01T07:18:40+00:00monthlyhttps://vfxblog.com/2018/10/22/pleasantville/https://vfxblog.com/wp-content/uploads/2019/11/8969e-pleasantville.jpgPleasantville2018-10-22T13:31:29+00:00monthlyhttps://vfxblog.com/2018/10/18/the-miniatures-of-first-man/https://vfxblog.com/wp-content/uploads/2019/11/ef93f-tl-horizontal_main.jpgtl-horizontal_main2018-10-19T01:50:49+00:00monthlyhttps://vfxblog.com/2018/10/16/inside-ilms-art-department/https://vfxblog.com/wp-content/uploads/2019/11/f1a9c-solo_spacemonsterheaddetailc6_wgw.jpgSolo_SpaceMonsterHeadDetailC6_wGW2018-10-16T20:21:43+00:00monthlyhttps://vfxblog.com/2018/10/11/recommended-viewing-from-animation-pros/https://vfxblog.com/wp-content/uploads/2019/11/ed8a4-animation_pros_main-1280x600.jpganimation_pros_main-1280x6002018-10-11T21:48:49+00:00monthlyhttps://vfxblog.com/2018/10/09/ilms-hal-hickel-on-the-symbiotic-relationship-between-actor-and-animator/https://vfxblog.com/wp-content/uploads/2019/11/8d142-warcraft2_final.jpgWarcraft2_finalEven though our Orgrim asset wasn't quite finished yet, we got a nice looking render with some nice lighting and we took that back to set on a laptop and just went around and showed it to the actors to say, ‘Look, what you're doing on set is gold and we are going to treat it with kid gloves because the whole idea is to get that from a to b - you will see yourselves in these characters at the end of the process. And I think it was a great comfort to them. I think they felt that was great, like, ‘It actually matters what I do on camera.’https://vfxblog.com/wp-content/uploads/2019/11/7c630-warcraft2_capture.jpgWarcraft2_captureOn Warcraft, it was definitely our impression that at least some of the actors who had done shows before where they were creating characters using motion capture, that they seemed to have the impression that that was all good and everything, but ultimately later on the visual effects crew was going to just bulldoze over that with animation and obliterate it and kind of do their own thing. So we did a test pretty quickly, just a few weeks into principal photography where we took some early phase capture of Robert Kazinsky and transferred it onto Orgrim.https://vfxblog.com/wp-content/uploads/2019/11/9cfad-rogueone_tarkin_final.jpgRogueOne_Tarkin_finalThe problem was if you messed with it too much, of course it would start to feel like you've messed with it. It's very easy to break capture. Even body capture people who've worked with it know that it's sort of an interconnected web of motions. And if you just tweak the hips a little or move this a little, you can break stuff pretty quickly and it starts to look weird and Frankenstein’d together. So we had to find a line. We were trying to chase realism, but we're also trying to chase likeness. And sometimes we had the sacrifice likeness a little bit to keep it feeling real and it would be a little less Cushing because we just didn't want to push the motion around that much.https://vfxblog.com/wp-content/uploads/2019/11/9b867-rogueone_tarkin_capture.jpgRogueOne_Tarkin_captureWith Rogue One and Tarkin, the actor having passed away introduces a very difficult thing that I don't think we have all the answers for in terms of our technology and our processes. Because the very hardest thing from my point of view on it was, well, we had a terrific actor - Guy Henry. But Guy doesn’t use his face the way Peter Cushing uses his face. We all use our face differently. He doesn't smile like him. He doesn't form the phonemes the same. So while we could get a great performance from Guy and we could apply that to Tarkin and get a realistic looking movement, it lacked Tarkin’s likeness. We had high realism, but we had problems with likeness. It looked like Peter Cushing’s cousin or something. So we'd have to then adjust the motion to the face. The animation team would have to adjust it - if he did a smile, say, to get it to look like a Tarkin smile or a Peter Cushing smile.https://vfxblog.com/wp-content/uploads/2019/11/29384-rogueone_k2so.jpgRogueOne_K2SOActors are still at the heart of the process. They're the foundation on which we build everything else. To me that's kind of exciting. It's funny because when motion capture was first coming onto the scene in visual effects, there were a lot of animators who were afraid of it because it took away some of their creative authorship over the work and I think they assumed that pretty soon just everything would be done with motion capture. But in fact it's provided us with some really creative interesting tasks to build characters where we're partnering with an actor.https://vfxblog.com/wp-content/uploads/2019/11/88f23-davyjones_plates.jpgDavyJones_platesWhen we were gearing up to do Pirates 2, we had a bunch of problems to solve. One of them was, we knew we needed to do body motion capture on location, which is something we at ILM had not done before. We needed to do it in jungles and on ships at sea and on sets, because we didn't want to capture Bill Nighy’s performance separately on a motion capture stage. We wanted him there with the other actors. And then we had Davy Jones’ beard, which was a massive problem. It's probably the single most difficult thing we had to do on the show. So, we decided not to tackle facial motion capture, but we opted instead to shoot Bill on-set in a motion capture suit - what we called iMocap are is our version of on-set motion capture. https://vfxblog.com/wp-content/uploads/2019/11/9cfeb-davyjones_final.jpgDavyJones_finalSo, we'd filmed him and then the animators would just study the footage of face and keyframe animate Davey’s face. The thing is, it wasn't just a mechanical process of saying, ‘Oh well this, you know, the mouth corner moved this much, so we'll move our mouth corner that much.’ You really had to look at it and try and figure out what his intention was as an actor. Sometimes that's a bit like tasting a stew and trying to figure out what they put in it. When an actor is doing something really subtle and there's no subtext, really teasing that out and getting it right as you transform it, because that's the other thing, is it wasn't a one to one transfer. I mean, if Bill got angry and flared his nostrils, well, Davey doesn't have a nose. So we had to find other ways to communicate certain things. So there was a translation that had to happen, but the intent was always to preserve exactly what Bill had done and communicate that faithfully.https://vfxblog.com/wp-content/uploads/2019/11/f4a63-an1-046680.jpgnullWe didn't do facial capture with K-2SO on Rogue One, but Alan Tudyk’s performance, his comic timing, every little choice of how he moved his head and the delivery of his lines - we never messed with his timing. We had to fit the body capture to K-2SO and his posture and everything, but, again, the whole job there was to preserve what Alan had done, not to change what he'd done, especially his timing. We never messed with his time. It was perfect comedy gold.https://vfxblog.com/wp-content/uploads/2019/11/0fba1-dsc_4815.jpgDSC_4815Hickel (centre) gears up for the THU TV interview. Photo by John Crowcroft.https://vfxblog.com/wp-content/uploads/2019/11/c531f-warcraft3_final.jpgWarcraft3_final2018-10-10T03:04:52+00:00monthlyhttps://vfxblog.com/2018/10/08/the-many-visages-of-venom/https://vfxblog.com/wp-content/uploads/2019/11/d7e3e-venom_main-1280x600.jpgVenom_main-1280x6002018-10-08T20:22:43+00:00monthlyhttps://vfxblog.com/2018/10/04/antz-20-years-on/https://vfxblog.com/wp-content/uploads/2019/11/4ca37-antz2.jpgantz22018-10-04T22:44:15+00:00monthlyhttps://vfxblog.com/2018/10/02/big-tech-from-a-small-studio/https://vfxblog.com/wp-content/uploads/2019/11/afcd5-gradienteffects_megan2.jpgGradientEffects_Megan22018-10-02T22:56:21+00:00monthlyhttps://vfxblog.com/2018/10/02/siggraph-asia-in-tokyo-a-sneak-peek-at-the-vfx-talks/https://vfxblog.com/wp-content/uploads/2019/11/bc35e-incredibles-2_rgb_z038_3d_cs_pub.pub16.131.jpgINCREDIBLES 2SHE’S BACK – Elastigirl may have hung up her Supersuit when the Supers were lying low, but in “Incredibles 2,” she’s recruited to lead a campaign to bring them back into the spotlight. With the full support of her family behind her, Helen finds she’s still at the top of her game when it comes to fighting crime. Featuring the voice of Holly Hunter as Helen Parr aka Elastigirl, “Incredibles 2” opens in U.S. theaters June 15, 2018. ©2018 Disney•Pixar. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2019/11/99d19-ata_1500_pubstill_raw4k_v222.1267.jpgata_1500_pubStill_raw4k_v222.1267https://vfxblog.com/wp-content/uploads/2019/11/0d3d6-siggraphasia.jpgsiggraphasia2018-10-02T17:51:07+00:00monthlyhttps://vfxblog.com/2018/09/30/come-for-the-view-stay-for-the-workshops-and-masterclasses/https://vfxblog.com/wp-content/uploads/2019/11/a620e-troy-saliba-backing_feature.jpgtroy-saliba-backing_feature2018-09-30T09:37:13+00:00monthlyhttps://vfxblog.com/2018/09/27/new-vfx-voice-is-out-2/https://vfxblog.com/wp-content/uploads/2019/11/1cbcd-dohhlpkvaaehizb.jpgDoHhlpkVAAEHiZb2018-09-27T19:04:03+00:00monthlyhttps://vfxblog.com/2018/09/25/masters-of-titles/https://vfxblog.com/wp-content/uploads/2019/11/e2859-screen-shot-2018-09-25-at-3.24.41-pm.jpgScreen Shot 2018-09-25 at 3.24.41 pm2018-09-25T13:30:14+00:00monthlyhttps://vfxblog.com/2018/09/12/solos-old-school-hyperspace-jump/https://vfxblog.com/wp-content/uploads/2019/11/0dcb4-solo1.jpgSolo1https://vfxblog.com/wp-content/uploads/2019/11/892ae-solo2.jpgSolo2https://vfxblog.com/wp-content/uploads/2019/11/4d57d-solo3.jpgSolo3https://vfxblog.com/wp-content/uploads/2019/11/404aa-solo4.jpgSolo42018-09-12T22:36:25+00:00monthlyhttps://vfxblog.com/2018/09/11/how-imageworks-helped-make-a-massive-megalodon/https://vfxblog.com/wp-content/uploads/2019/11/e0ace-mg0840_final_comp.jpgmg0840_Final_comp2018-09-11T22:37:10+00:00monthlyhttps://vfxblog.com/2018/09/06/mpcs-creature-tales/https://vfxblog.com/wp-content/uploads/2019/11/3068b-creaturetales.jpgCreatureTales2018-09-06T21:54:51+00:00monthlyhttps://vfxblog.com/2018/09/04/puppet-time/https://vfxblog.com/wp-content/uploads/2019/11/020a4-happytimemurders_greenscreen1.jpgHappytimeMurders_greenscreen12018-09-04T20:37:00+00:00monthlyhttps://vfxblog.com/2018/09/04/25-years-of-nightmare-before-christmas/https://vfxblog.com/wp-content/uploads/2019/11/8d855-nightmare_selick_main-1280x600.jpgNightmare_Selick_main-1280x6002018-09-04T20:31:03+00:00monthlyhttps://vfxblog.com/2018/08/30/2d-tools-and-what-they-let-you-do-in-3d/https://vfxblog.com/wp-content/uploads/2019/11/899e2-2d_3d_main-1280x600.jpg2d_3d_main-1280x6002018-08-30T20:52:25+00:00monthlyhttps://vfxblog.com/2018/08/29/5-talks-you-have-to-see-at-view/https://vfxblog.com/wp-content/uploads/2019/11/288f9-pla-3326.jpgpla-3326https://vfxblog.com/wp-content/uploads/2019/11/7b0f3-matrix.jpgmatrixhttps://vfxblog.com/wp-content/uploads/2019/11/41a0d-dennis.jpgdennishttps://vfxblog.com/wp-content/uploads/2019/11/882f9-nora.jpgNorahttps://vfxblog.com/wp-content/uploads/2019/11/aa2da-westworld.jpgWestworldhttps://vfxblog.com/wp-content/uploads/2019/11/c2c40-coco.jpgCocoDirector of Photography for Lighting Danielle Feinberg at "Coco" Long Lead Press Day, which included a filmmaker roundtable, presentations about the music, story, characters and set designs of the film, on August 3, 2017 at Pixar Animation Studios in Emeryville, Calif. (Photo by Deborah Coleman / Pixar)2018-08-29T22:56:01+00:00monthlyhttps://vfxblog.com/2018/08/28/aardman-digital-make-up-for-latest-3d-artist/https://vfxblog.com/wp-content/uploads/2019/11/54600-screen-shot-2018-08-29-at-7.36.44-am.jpgScreen Shot 2018-08-29 at 7.36.44 am2018-08-28T21:42:53+00:00monthlyhttps://vfxblog.com/2018/08/28/planes-paris-masks-and-mirrors/https://vfxblog.com/wp-content/uploads/2019/11/e4725-fallout_fight.jpgMISSION: IMPOSSIBLE - FALLOUTLeft to right: Liang Yang and Henry Cavill in MISSION: IMPOSSIBLE - FALLOUT, from Paramount Pictures and Skydance.2018-08-28T21:26:56+00:00monthlyhttps://vfxblog.com/2018/08/22/adrift-what-is-real-and-what-isnt/https://vfxblog.com/wp-content/uploads/2019/11/59bc3-adrift.jpgAdrift2018-08-22T19:21:20+00:00monthlyhttps://vfxblog.com/2018/08/21/kraken-good-animation/https://vfxblog.com/wp-content/uploads/2019/11/ac1f1-hoteltransylvania3_kraken2.jpgHotelTransylvania3_Kraken22018-08-21T20:41:40+00:00monthlyhttps://vfxblog.com/2018/08/20/a-round-up-of-animation-and-vfx-tech-from-siggraph/https://vfxblog.com/wp-content/uploads/2019/11/6f765-siggraph2018_tech_main-1280x600.jpgSIGGRAPH2018_tech_main-1280x6002018-08-20T19:59:12+00:00monthlyhttps://vfxblog.com/2018/08/17/rob-bredows-siggraph-keynote/https://vfxblog.com/wp-content/uploads/2019/11/3a103-robbredow_siggraph1.jpgRobBredow_SIGGRAPH12018-08-17T15:51:49+00:00monthlyhttps://vfxblog.com/2018/08/17/bingo-the-clown-o/https://vfxblog.com/wp-content/uploads/2019/11/deb8f-bingo.pngBingo2018-08-17T15:49:35+00:00monthlyhttps://vfxblog.com/2018/08/14/behind-the-synthetic-worlds-you-know-so-well/https://vfxblog.com/wp-content/uploads/2019/11/422e0-craftingworld.jpgcraftingworld2018-08-15T04:19:30+00:00monthlyhttps://vfxblog.com/2018/08/14/ant-mans-chase-scene-is-already-a-classic/https://vfxblog.com/wp-content/uploads/2019/11/02bbc-antman_carchase_truck_after.jpgAntMan_carchase_truck_after2018-08-15T04:16:25+00:00monthlyhttps://vfxblog.com/2018/08/14/breaking-down-one-of-die-hards-best-optical-composites/https://vfxblog.com/wp-content/uploads/2019/11/759a2-diehard_shoot1.jpgDieHard_shoot12018-08-14T16:09:25+00:00monthlyhttps://vfxblog.com/2018/08/14/qa-with-the-directors-of-bilby/https://vfxblog.com/wp-content/uploads/2019/11/e442e-dreamworks_bilby4.jpgDreamworks_Bilby42018-08-14T15:36:03+00:00monthlyhttps://vfxblog.com/2018/08/07/how-to-see-the-past-present-and-future-of-vfx-at-view-and-some-unexpected-things-too/https://vfxblog.com/wp-content/uploads/2019/11/4cee9-hans.jpeghansHans Zimmer.https://vfxblog.com/wp-content/uploads/2019/11/a2991-piggy_still1.jpgPiggy_Still1Jan Pinkava will be discussing his work at Google Spotlight Stories, including on the VR experience, Piggy.https://vfxblog.com/wp-content/uploads/2019/11/58f1e-101_040_710_elements.1006.jpg101_040_710_elements.1006Image Engine's work for Lost in Space will be one of the presentations.https://vfxblog.com/wp-content/uploads/2019/11/93f5a-dennismuren.jpgDennisMurenDennis Muren on the set of Return of the Jedi.https://vfxblog.com/wp-content/uploads/2019/11/c1b5d-800_0885.jpg800_08852018-08-08T06:41:45+00:00monthlyhttps://vfxblog.com/2018/08/07/the-cgi-tidal-wave-in-snake-eyes-that-no-one-got-to-see/https://vfxblog.com/wp-content/uploads/2019/11/bd33c-snakeeyes_wave3.jpgSnakeEyes_wave3https://vfxblog.com/wp-content/uploads/2019/11/740ad-snakeeyes_wave2.jpgSnakeEyes_wave2Source: Behance page of Trevor Tuttle, a model maker at ILM on Snake Eyes.https://vfxblog.com/wp-content/uploads/2019/11/b2ad9-snakeeyes_wave1.jpgSnakeEyes_wave1Source: Behance page of Trevor Tuttle, a model maker at ILM on Snake Eyes.https://vfxblog.com/wp-content/uploads/2019/11/0b66d-snakeeyes_miniature6.jpgSnakeEyes_miniature6Source: Behance page of Trevor Tuttle, a model maker at ILM on Snake Eyes.https://vfxblog.com/wp-content/uploads/2019/11/2b279-snakeeyes_miniature3.jpgSnakeEyes_miniature3Source: Behance page of Trevor Tuttle, a model maker at ILM on Snake Eyes.https://vfxblog.com/wp-content/uploads/2019/11/9bd0f-snakeeyes_miniature2.jpgSnakeEyes_miniature2Source: Behance page of Trevor Tuttle, a model maker at ILM on Snake Eyes.2018-08-07T21:38:48+00:00monthlyhttps://vfxblog.com/2018/08/03/looking-for-vfx-inspiration/https://vfxblog.com/wp-content/uploads/2019/11/9de1f-poster-thu-2018-high-res.jpgposter-thu-2018-high-res2018-08-04T01:18:08+00:00monthlyhttps://vfxblog.com/2018/07/31/the-performance-capture-of-thanos/https://vfxblog.com/wp-content/uploads/2019/11/0692b-screen-shot-2018-08-01-at-2.38.46-pm.jpgScreen Shot 2018-08-01 at 2.38.46 pmhttps://vfxblog.com/wp-content/uploads/2019/11/675e7-screen-shot-2018-08-01-at-2.38.23-pm.jpgScreen Shot 2018-08-01 at 2.38.23 pmhttps://vfxblog.com/wp-content/uploads/2019/11/ff292-screen-shot-2018-08-01-at-2.38.13-pm.jpgScreen Shot 2018-08-01 at 2.38.13 pm2018-08-01T04:54:56+00:00monthlyhttps://vfxblog.com/2018/07/31/new-3d-artist-mag-is-out/https://vfxblog.com/wp-content/uploads/2019/11/cd922-hotelt3.jpgHOTELT3https://vfxblog.com/wp-content/uploads/2019/11/3baf1-tippett.jpgTIPPETT2018-08-01T04:44:18+00:00monthlyhttps://vfxblog.com/2018/07/29/the-made-in-maya-short-thats-now-more-than-20-years-old/2018-07-30T05:43:51+00:00monthlyhttps://vfxblog.com/rubys-saloon/2018-07-30T05:33:48+00:00weekly0.6https://vfxblog.com/2018/07/25/new-infinity-war-featurette-goes-behind-the-scenes-of-titan-battle/https://vfxblog.com/wp-content/uploads/2019/11/1b6df-titan2.jpgTitan2https://vfxblog.com/wp-content/uploads/2019/11/fedc6-titan3.jpgTitan3https://vfxblog.com/wp-content/uploads/2019/11/19c25-titan1.jpgTitan12018-07-26T04:27:02+00:00monthlyhttps://vfxblog.com/2018/07/18/super-mario-bros-the-other-huge-vfx-film-from-1993/2018-07-19T06:51:40+00:00monthlyhttps://vfxblog.com/supermariobros/https://vfxblog.com/wp-content/uploads/2019/11/07b99-mario_white-bg1.jpgMario_White-BG1https://vfxblog.com/wp-content/uploads/2019/11/bba07-supermario1.jpgSuperMario1https://vfxblog.com/wp-content/uploads/2019/11/15461-supermario2.jpgSuperMario2https://vfxblog.com/wp-content/uploads/2019/11/3d694-supermario3.jpgSuperMario3https://vfxblog.com/wp-content/uploads/2019/11/eed84-supermario4.jpgSuperMario4https://vfxblog.com/wp-content/uploads/2019/11/10581-supermario5.jpgSuperMario5https://vfxblog.com/wp-content/uploads/2019/11/2e39b-supermario6c.jpgSuperMario6chttps://vfxblog.com/wp-content/uploads/2019/11/62e78-supermario6b.jpgSuperMario6bhttps://vfxblog.com/wp-content/uploads/2019/11/7da23-supermario6a.jpgSuperMario6ahttps://vfxblog.com/wp-content/uploads/2019/11/d6d38-supermario6.jpgSuperMario62018-07-19T06:36:14+00:00weekly0.6https://vfxblog.com/archives/2018-07-18T04:16:59+00:00weekly0.6https://vfxblog.com/2018/07/17/how-e-d-films-is-using-real-time-to-help-make-their-animated-films/https://vfxblog.com/wp-content/uploads/2019/11/77ecf-giantbear_edfilms-1280x600.jpggiantbear_edfilms-1280x6002018-07-17T23:41:25+00:00monthlyhttps://vfxblog.com/2018/07/16/going-old-school-forced-perspective-and-other-effects-in-ant-man-and-the-wasp/https://vfxblog.com/wp-content/uploads/2019/11/5d509-bag.jpgbaghttps://vfxblog.com/wp-content/uploads/2019/11/c36fa-antman_stairs.jpgAntMan_stairshttps://vfxblog.com/wp-content/uploads/2019/11/db59a-ant-man_bag1.jpgAnt-Man_bag1https://vfxblog.com/wp-content/uploads/2019/11/c1594-ant-man_bag.jpgAnt-Man_baghttps://vfxblog.com/wp-content/uploads/2019/11/ed11a-stef-demo.jpgStef-demoVisual effects supervisor Stephane Ceretti demo'ing the greenscreen box for the broom cupboard scene. Source Ceretti's Instagram post. 2018-07-17T00:41:08+00:00monthlyhttps://vfxblog.com/2018/07/16/enter-the-quantum-realm/https://vfxblog.com/wp-content/uploads/2019/11/6d6a8-antmanwasp_quantumrealm3_a.jpg.jpgAntManWasp_QuantumRealm3_A.jpg2018-07-17T00:37:44+00:00monthlyhttps://vfxblog.com/2018/07/16/what-the-heck-is-siggraphs-real-time-live-and-why-you-should-definitely-see-it/https://vfxblog.com/wp-content/uploads/2019/11/1c5f8-realtimelive.jpgrealtimelivehttps://vfxblog.com/wp-content/uploads/2019/11/bfd32-usjwzxukucdbksaw.jpgusjwzXUkuCDBKSaWDemocratising Mocap: Real-Time Full-Performance Motion Capture with an iPhone X, Xsens and Unreal Engine.https://vfxblog.com/wp-content/uploads/2019/11/af720-qxzyqpxqh53mp3xo.jpgQxzyqpXqh53mP3Xohttps://vfxblog.com/wp-content/uploads/2019/11/75d24-fapyqlqso4jpwazk.jpgfaPYQLqso4JPWaZkhttps://vfxblog.com/wp-content/uploads/2019/11/a0d7d-dccbnwifxpd4v7ye.jpgdCcbnwifxpd4V7YEhttps://vfxblog.com/wp-content/uploads/2019/11/4a87a-jlkgmvesxqz8csgj.jpgJLKgmVeSxQZ8CSGJPocketStudio - The Power of Real-Time Collaborative Filmmakinghttps://vfxblog.com/wp-content/uploads/2019/11/90c3e-wzvxvr5khlbf8t6q.jpgWZVXvr5KHLbf8t6Qhttps://vfxblog.com/wp-content/uploads/2019/11/5c7ca-jessebarker-1-160x150.jpgJesseBarker-1-160x1502018-07-16T23:29:29+00:00monthlyhttps://vfxblog.com/2018/07/15/going-through-a-phase-dneg-on-ant-man-and-the-wasps-ghost-effects/https://vfxblog.com/wp-content/uploads/2019/11/9d1ac-e_gdv3080_scan_1017_pr.jpge_gdv3080_scan_1017_PRhttps://vfxblog.com/wp-content/uploads/2019/11/6069b-e_gdv3300_still_1049_cc_pr.jpge_GDV3300_still_1049_CC_PRhttps://vfxblog.com/wp-content/uploads/2019/11/2c645-e_gdv3300_scan_1049_pr.jpge_gdv3300_scan_1049_PRhttps://vfxblog.com/wp-content/uploads/2019/11/9e021-e_gdv3080_still_1017_cc_pr.jpge_GDV3080_still_1017_CC_PRhttps://vfxblog.com/wp-content/uploads/2019/11/4f8dc-e_ilf3040_still_1014_cc_pr.jpge_ILF3040_still_1014_CC_PR2018-07-16T06:09:07+00:00monthlyhttps://vfxblog.com/2018/07/13/finding-indo-how-ilm-made-fallen-kingdoms-indoraptor-a-different-dinosaur/https://vfxblog.com/wp-content/uploads/2019/11/25610-2482_d067_00295.jpgJurassic World 2https://vfxblog.com/wp-content/uploads/2019/11/9d749-is3020.comp_.074030.comp_jeenriquez_v11.1210.jpgis3020.comp.074030.comp_jeenriquez_v11.1210https://vfxblog.com/wp-content/uploads/2019/11/0fcb3-is3020.bg01.r01.src_.1210.jpgis3020.bg01.r01.SRC.1210https://vfxblog.com/wp-content/uploads/2019/11/4d3ae-dr0180.fx_.037907.1109.jpgdr0180.fx.037907.1109https://vfxblog.com/wp-content/uploads/2019/11/93fd2-bi0240.comp_.042061.tsalama_v50.1159.jpgbi0240.comp.042061.tsalama_v50.1159https://vfxblog.com/wp-content/uploads/2019/11/fdd0a-dr0180.bg01.src_.1109.jpgdr0180.bg01.SRC.1109https://vfxblog.com/wp-content/uploads/2019/11/e9a0c-dr0180.anim_.037907.1109.jpgdr0180.anim.037907.1109https://vfxblog.com/wp-content/uploads/2019/11/e6b7f-dr0180.comp_.040945.wroberts_v36.1109.jpgdr0180.comp.040945.wroberts_v36.1109https://vfxblog.com/wp-content/uploads/2019/11/a6d78-bi0010.comp_.065811.johnga_v27.1300-1.jpgbi0010.comp.065811.johnga_v27.1300https://vfxblog.com/wp-content/uploads/2019/11/50b43-bi0010.anim_.049047.1300-1.jpgbi0010.anim.049047.13002018-07-13T23:40:45+00:00monthlyhttps://vfxblog.com/2018/07/13/three-character-challenges-from-hotel-t-3/https://vfxblog.com/wp-content/uploads/2019/11/07f53-hoteltransylvania3_dracula_transform.jpgHotelTransylvania3_Dracula_transform2018-07-13T22:38:06+00:00monthlyhttps://vfxblog.com/2018/07/12/fallen-kingdom-the-film-before-the-film/https://vfxblog.com/wp-content/uploads/2019/11/7e927-fallenkingdom_prologue.jpgFallenKingdom_prologuehttps://vfxblog.com/wp-content/uploads/2019/11/b1257-prologue2.jpgPrologue22018-07-12T14:55:44+00:00monthlyhttps://vfxblog.com/2018/07/12/fractals-and-ziva-in-latest-3d-world/https://vfxblog.com/wp-content/uploads/2019/11/dac3c-fractals.jpgFractalshttps://vfxblog.com/wp-content/uploads/2019/11/13fdd-ziva.jpgZiva2018-07-12T14:32:57+00:00monthlyhttps://vfxblog.com/2018/07/12/black-mirrors-uss-callister-and-the-framestore-factor/https://vfxblog.com/wp-content/uploads/2019/11/435e7-blackmirror_s4_callister_3.jpgBlackMirror_S4_Callister_32018-07-12T09:40:04+00:00monthlyhttps://vfxblog.com/2018/07/10/the-saddest-moment-in-jurassic-world-fallen-kingdom-was-also-one-of-the-most-beautiful/https://vfxblog.com/wp-content/uploads/2019/11/41e8c-ne1120.comp_.074913.ssalek_v79.1114.jpgne1120.comp.074913.ssalek_v79.1114https://vfxblog.com/wp-content/uploads/2019/11/22eda-ne1120.bg01.src_.1114.jpgne1120.bg01.SRC.11142018-07-11T06:49:04+00:00monthlyhttps://vfxblog.com/2018/07/10/a-lion-and-a-mosasaurus-how-those-fun-end-moments-of-jurassic-world-fallen-kingdom-came-to-be/https://vfxblog.com/wp-content/uploads/2019/11/7a92f-jurassic-world-fallen-kingdom-tv-spot.jpgJurassic-World-Fallen-Kingdom-TV-spot2018-07-10T17:00:53+00:00monthlyhttps://vfxblog.com/2018/07/10/cat-litter-and-other-unexpected-fx-solutions-derived-for-fallen-kingdom/https://vfxblog.com/wp-content/uploads/2019/11/17c1a-jurassicworldfallenkingdom_cat_litter.jpgJurassicWorldFallenKingdom_cat_litter2018-07-10T16:42:43+00:00monthlyhttps://vfxblog.com/2018/07/09/the-best-of-both-jurassic-worlds-practical-and-digital/https://vfxblog.com/wp-content/uploads/2019/11/99055-2482_d046_00071rv2.jpgJurassic World: Fallen KingdomBryce Dallas Howard and Chris Pratt with the T. rex.https://vfxblog.com/wp-content/uploads/2019/11/48292-2482_d030_00190r.jpgJurassic World: Fallen KingdomDirector J. A. Bayona on set with a Neal Scanlan practical Indoraptor, a build made possible thanks to close collaboration with ILM. https://vfxblog.com/wp-content/uploads/2019/11/4fb8a-fallenkingdom_trex1.jpgFallenKingdom_trex12018-07-09T12:39:24+00:00monthlyhttps://vfxblog.com/2018/07/03/new-3d-artist-shines-light-on-incredibles-2-and-renderman/https://vfxblog.com/wp-content/uploads/2019/11/92763-screen-shot-2018-07-03-at-5.31.07-pm.jpgScreen Shot 2018-07-03 at 5.31.07 pm2018-07-03T16:33:39+00:00monthlyhttps://vfxblog.com/2018/06/28/new-vfx-voice-is-incredible/https://vfxblog.com/wp-content/uploads/2019/11/aacbf-vfxvoiceincredibles.jpgVFXVoiceIncredibles2018-06-28T09:29:04+00:00monthlyhttps://vfxblog.com/2018/06/22/optical-craziness/https://vfxblog.com/wp-content/uploads/2019/11/37c9b-rogerrabbit_bar.jpgRogerRabbit_bar2018-06-22T07:43:31+00:00monthlyhttps://vfxblog.com/2018/06/21/the-tree-makers/https://vfxblog.com/wp-content/uploads/2019/11/da9ea-treemakers.jpgtreemakers2018-06-21T12:57:31+00:00monthlyhttps://vfxblog.com/2018/06/21/mighty-mike-from-teamto/https://vfxblog.com/wp-content/uploads/2019/11/f9dfd-mike_teamto_rumba.jpgMIKE_TeamTO_rumba2018-06-21T08:18:15+00:00monthlyhttps://vfxblog.com/2018/06/19/on-the-20th-anniversary-of-the-x-files-movie-splosions/https://vfxblog.com/wp-content/uploads/2019/11/9fe46-xfiles.jpgFrom Masters of FX.From Masters of FX.https://vfxblog.com/wp-content/uploads/2019/11/6eb57-xfiles3.jpgxfiles3https://vfxblog.com/wp-content/uploads/2019/11/27a7a-xfiles2.jpgxfiles2https://vfxblog.com/wp-content/uploads/2019/11/ac768-xfiles1.jpgxfiles12018-06-19T14:15:33+00:00monthlyhttps://vfxblog.com/2018/06/19/behind-the-scenes-of-the-diy-minisodes/https://vfxblog.com/wp-content/uploads/2019/11/ef7e4-diy_main-1280x600.jpgDIY_main-1280x6002018-06-19T07:58:59+00:00monthlyhttps://vfxblog.com/2018/06/14/meet-piggy/https://vfxblog.com/wp-content/uploads/2019/11/122b0-mark-oftedal-piggy-poses-model-sheet.jpgMark Oftedal, Piggy Poses Model Sheet2018-06-14T20:58:31+00:00monthlyhttps://vfxblog.com/2018/06/13/inside-the-falcon/https://vfxblog.com/wp-content/uploads/2019/11/acc55-solo_2.jpgnullDonald Glover is Lando Calrissian and Phoebe Waller-Bridge is L3-37 in SOLO: A STAR WARS STORY.2018-06-14T06:01:02+00:00monthlyhttps://vfxblog.com/2018/06/08/a-convoy-clash/https://vfxblog.com/wp-content/uploads/2019/11/ae372-deadpool2_explosion_final.jpgDeadpool2_explosion_final2018-06-08T20:59:10+00:00monthlyhttps://vfxblog.com/2018/06/07/check-out-this-mocap-featurette-for-the-vr-jurassic-world-blue-experience/https://vfxblog.com/wp-content/uploads/2019/11/6dadb-blue.jpgbLUE2018-06-08T06:06:40+00:00monthlyhttps://vfxblog.com/2018/06/06/some-of-the-coolest-characters-in-solo-were-practical-cg-hybrids/https://vfxblog.com/wp-content/uploads/2019/11/983cf-l337-wearing-greenscreen.jpgL337-wearing-greenscreen2018-06-06T09:48:01+00:00monthlyhttps://vfxblog.com/2018/06/06/the-art-of-solos-speeder-scene/https://vfxblog.com/wp-content/uploads/2019/11/22c68-solo_speeder.jpegSolo_speeder2018-06-06T09:45:30+00:00monthlyhttps://vfxblog.com/2018/06/06/all-about-zbrush-2018/https://vfxblog.com/wp-content/uploads/2019/11/3bf0f-zbrush2018.jpgzbrush20182018-06-06T09:43:15+00:00monthlyhttps://vfxblog.com/2018/06/04/all-aboard-solos-conveyex-train-heist/2018-06-05T04:58:28+00:00monthlyhttps://vfxblog.com/solo/https://vfxblog.com/wp-content/uploads/2019/11/08fb6-coaxium_explosion.jpgcoaxium_explosionThe coaxium explodes.https://vfxblog.com/wp-content/uploads/2019/11/883bc-vandor-main_c1dfebb0.jpegvandor-main_c1dfebb0Vandor's mountains. Credit: Lucasfilm.https://vfxblog.com/wp-content/uploads/2019/11/61dcf-hs-ff-002789.jpghttps://vfxblog.com/wp-content/uploads/2019/11/b5bc1-hs-ff-000063.jpgnullThe conveyex makes one of its banking turns.https://vfxblog.com/wp-content/uploads/2019/11/f4b4e-hs-107210_r.jpgnullThe Dolomites plates served as real backgrounds or reference for digital environments in the shots.https://vfxblog.com/wp-content/uploads/2019/11/191bb-hs-100501_rsm.jpgnullRoto and paint were some of the saviors of the scene.https://vfxblog.com/wp-content/uploads/2019/11/10584-designing-solo-james-clyne-train-tall-2.jpgdesigning-solo-james-clyne-train-tall-2Credit: Lucasfilm.2018-06-05T04:56:28+00:00weekly0.6https://vfxblog.com/2018/06/03/you-cant-wipe-them-off-theyre-holograms-well/https://vfxblog.com/wp-content/uploads/2019/11/4ba5d-solo_chess_screenshot2a.jpgSolo_chess_screenshot2ahttps://vfxblog.com/wp-content/uploads/2019/11/a7266-lostchesspieces_original_photo1.jpgLostchesspieces_original_photo1A pic of the other missing chess pieces (from the Tested video).https://vfxblog.com/wp-content/uploads/2019/11/e0955-lostchesspieces_original_photo2.jpgLostchesspieces_original_photo2A pic of one of the original missing chess pieces (from the Tested video).https://vfxblog.com/wp-content/uploads/2019/11/e3ae4-lostchesspieces_original_photo3.jpgLostchesspieces_original_photo3Tippett the collection of chess pieces during A New Hope (one of the missing pieces is identified). This pic from the Kickstarter for MAD GOD Part 3.https://vfxblog.com/wp-content/uploads/2019/11/a306f-solo_chess_yellow_guy_sparks.jpgSolo_chess_yellow_guy_sparkshttps://vfxblog.com/wp-content/uploads/2019/11/e40a3-solo_chess_screenshot2.jpgSolo_chess_screenshot2https://vfxblog.com/wp-content/uploads/2019/11/7bf60-solo_chess_screenshot1.jpgSolo_chess_screenshot1https://vfxblog.com/wp-content/uploads/2019/11/2d582-solo_chess_red_guy_sparks.jpgSolo_chess_red_guy_sparkshttps://vfxblog.com/wp-content/uploads/2019/11/9fdab-solo_chess_chewie_gets_angry.jpgChewie goes nuts.Chewie goes nuts.https://vfxblog.com/wp-content/uploads/2019/11/dd71c-solo_chess_both_there.jpgBoth the 'new' chess pieces are there.Both the 'new' chess pieces are there.2018-06-04T04:12:15+00:00monthlyhttps://vfxblog.com/2018/05/31/jurassic-week-mocaping-dinos/2018-05-31T20:15:23+00:00monthlyhttps://vfxblog.com/jurassicmocap/https://vfxblog.com/wp-content/uploads/2019/11/76bc3-mocap1.gifmocap1https://vfxblog.com/wp-content/uploads/2019/11/61f05-cineview.gifcineviewhttps://vfxblog.com/wp-content/uploads/2019/11/d267e-mocap3.gifmocap3https://vfxblog.com/wp-content/uploads/2019/11/46437-jurassicworld_mocap.jpgJurassicWorld_mocaphttps://vfxblog.com/wp-content/uploads/2019/11/0b1d5-img_6236.jpgIMG_6236Inside Cineview. Photograph taken at the 2015 VIEW Conference.https://vfxblog.com/wp-content/uploads/2019/11/67de5-img_6214.jpgIMG_6214Raptors calibrate in style.https://vfxblog.com/wp-content/uploads/2019/11/029ed-img_6213.jpgIMG_6213The motion capture performers calibrate themselves.https://vfxblog.com/wp-content/uploads/2019/11/497a3-img_6235.jpgIMG_6235https://vfxblog.com/wp-content/uploads/2019/11/79359-img_6208.jpgIMG_62082018-05-31T20:14:06+00:00weekly0.6https://vfxblog.com/2018/05/30/jurassic-week-jp3-shines/2018-05-30T21:21:22+00:00monthlyhttps://vfxblog.com/jurassicpark3/https://vfxblog.com/wp-content/uploads/2019/11/262f3-spinosaur.jpgSpinosaurhttps://vfxblog.com/wp-content/uploads/2019/11/e5fd3-jp_ambientocclusion.jpgJP_ambientocclusionAmbient occlusion passes for Pearl Harbor and Jurassic Park III assets. Source: Landis, Hayden. 2002. “Production-Ready Global Illumination.” Course 16 notes, SIGGRAPH 2002.https://vfxblog.com/wp-content/uploads/2019/11/9772f-stampeding_herd_of_hadrosaurs.jpgStampeding_herd_of_hadrosaurshttps://vfxblog.com/wp-content/uploads/2019/11/03186-stampede.jpgstampedehttps://vfxblog.com/wp-content/uploads/2019/11/ce087-jp3_raptors.jpgJP3_raptorsRaptors and Dr Grant.https://vfxblog.com/wp-content/uploads/2019/11/c894a-jp3_miniatures.jpgJP3_miniatureshttps://vfxblog.com/wp-content/uploads/2019/11/5d6ea-jp3_ilmer.jpgJP3_ILMerAn ILM artist at work on Jurassic Park III.https://vfxblog.com/wp-content/uploads/2019/11/0419a-jp3_globalillumination.jpgJP3_globalilluminationThe Spinosaurus scene. Source: Landis, Hayden. 2002. "Production-Ready Global Illumination." Course 16 notes, SIGGRAPH 2002.2018-05-30T09:17:09+00:00weekly0.6https://vfxblog.com/2018/05/30/deadpool-2s-what-the-scene-and-how-it-was-made/https://vfxblog.com/wp-content/uploads/2019/11/20281-o_mk_seq_comp_conceptlittlelegs_v004.1001a.jpgO_mk_seq_comp_conceptlittlelegs_v004.1001aConcept art by Double Negative.https://vfxblog.com/wp-content/uploads/2019/11/ea5df-o_ll_0500_comp_v038_pr_v002.1011a.jpgO_ll_0500_comp_v038_PR_v002.1011ahttps://vfxblog.com/wp-content/uploads/2019/11/d5969-o_ll_0500_comp_scan_pr_v002.1011a.jpgO_ll_0500_comp_scan_PR_v002.1011ahttps://vfxblog.com/wp-content/uploads/2019/11/97d7d-o_ll_0400_scan_pr_v002.1020a.jpgO_ll_0400_scan_PR_v002.1020ahttps://vfxblog.com/wp-content/uploads/2019/11/92994-o_ll_0400_comp_v017_pr_v002.1020a.jpgO_ll_0400_comp_v017_PR_v002.1020a2018-05-30T08:38:41+00:00monthlyhttps://vfxblog.com/2018/05/29/jurassic-week-the-dinosaur-input-device/2018-05-29T20:00:46+00:00monthlyhttps://vfxblog.com/2018/05/29/animation-tools-of-the-future/https://vfxblog.com/wp-content/uploads/2019/11/19ee6-siggraph2018papers_main-1280x600.jpgsiggraph2018papers_main-1280x6002018-05-29T19:58:57+00:00monthlyhttps://vfxblog.com/dinosaurinputdevice/https://vfxblog.com/wp-content/uploads/2019/11/bbc09-did.jpgDIDDID on display.https://vfxblog.com/wp-content/uploads/2019/11/37d7a-did2.jpegDID2DID with connecting wires.https://vfxblog.com/wp-content/uploads/2019/11/1d24d-dinosaur_input_device_velociraptor.jpgDinosaur_Input_Device_VelociraptorRaptor DID. Photo by Matt Mechtley.https://vfxblog.com/wp-content/uploads/2019/11/ea4fc-trex_test_small.giftrex_test_smallhttps://vfxblog.com/wp-content/uploads/2019/11/ec223-gomotion1.gifGoMotion1https://vfxblog.com/wp-content/uploads/2019/11/98560-starshiptroopers_crazybug.gifStarshipTroopers_crazybughttps://vfxblog.com/wp-content/uploads/2019/11/bc033-bugs.jpgBugshttps://vfxblog.com/wp-content/uploads/2019/11/adda0-did_clean.jpgDID_cleanhttps://vfxblog.com/wp-content/uploads/2019/11/37787-1a-and-1b-see-below-dutrae28099s-e2809cmr-5e2809d-hi-8-video-performance-reference.-in-sequence-of-playing-action.-march-1993b.jpgDutra’s “MR-5” Hi-8 video performance reference.Dutra’s “MR-5” Hi-8 video performance reference. https://vfxblog.com/wp-content/uploads/2019/11/8c3c0-1a-and-1b-see-below-dutrae28099s-e2809cmr-5e2809d-hi-8-video-performance-reference.-in-sequence-of-playing-action.-march-1993.jpgDutra’s “MR-5” Hi-8 video performance reference.Dutra’s “MR-5” Hi-8 video performance reference. 2018-05-29T19:27:52+00:00weekly0.6https://vfxblog.com/2018/05/27/jurassic-week-the-history-of-viewpaint/2018-05-28T05:21:46+00:00monthlyhttps://vfxblog.com/2018/05/27/james-cameron-3d-avatar-creatures-ai-terminator-commentary/https://vfxblog.com/wp-content/uploads/2019/11/d16d1-img_2541-1.jpgIMG_2541https://vfxblog.com/wp-content/uploads/2019/11/a9eb7-camera.jpgJames_Cameron_Pace_Camera_G4James_Cameron_Pace_Camera_G4https://vfxblog.com/wp-content/uploads/2019/11/732c2-sub.jpgSubhttps://vfxblog.com/wp-content/uploads/2019/11/e8048-terminator.jpgTERMINATORhttps://vfxblog.com/wp-content/uploads/2019/11/a7a08-jake_thanator.jpgJake_thanatorhttps://vfxblog.com/wp-content/uploads/2019/11/749c9-img_2543.jpgIMG_2543https://vfxblog.com/wp-content/uploads/2019/11/f3ec4-img_2541.jpgIMG_2541https://vfxblog.com/wp-content/uploads/2019/11/f99ca-img_2540.jpgIMG_2540https://vfxblog.com/wp-content/uploads/2019/11/e3269-img_2535.jpgIMG_25352018-05-27T22:58:44+00:00monthlyhttps://vfxblog.com/2018/05/27/all-about-cymatics/https://vfxblog.com/wp-content/uploads/2019/11/c70f3-mba2925_comp_v0066.1030.jpgmba2925_comp_v0066.10302018-05-27T21:34:28+00:00monthlyhttps://vfxblog.com/2018/05/24/colossus-rides-again/https://vfxblog.com/wp-content/uploads/2019/11/54da7-deadpool2_colosuss3.jpgmb0515_wip_v0132_rec709.tiffmb0515_wip_v0132_rec709.tiff2018-05-25T01:02:50+00:00monthlyhttps://vfxblog.com/viewpaint/https://vfxblog.com/wp-content/uploads/2019/11/5bd88-j.park_.raptor.ref_.c.fb_.jpegJ.PARK.RAPTOR.REF.C.FBhttps://vfxblog.com/wp-content/uploads/2019/11/a4d8a-j.park_.raptor.ref_.b.fb_.jpegJ.PARK.RAPTOR.REF.B.FBhttps://vfxblog.com/wp-content/uploads/2019/11/19447-j.park_.raptor.ref_.a.jpegJ.PARK.RAPTOR.REF.Ahttps://vfxblog.com/wp-content/uploads/2019/11/1affa-ty.jpgTyRuben Ellingson.TyRuben Ellingson.https://vfxblog.com/wp-content/uploads/2019/11/76519-viewpaint_matador.jpgViewpaint screenshot, inside Matador.Viewpaint screenshot, inside Matador.https://vfxblog.com/wp-content/uploads/2019/11/e0997-viewpaint_test2.gifViewpaint_Test2https://vfxblog.com/wp-content/uploads/2019/11/70c0e-viewpaint_spiderwick.jpgMulgarath from The Spiderwick Chronicles.Mulgarath from The Spiderwick Chronicles. https://vfxblog.com/wp-content/uploads/2019/11/78182-viewpaint_jeanbolte1.jpgJean Bolte works on a maquette for DragonHeart.Jean Bolte works on a maquette for DragonHeart.https://vfxblog.com/wp-content/uploads/2019/11/67fbc-viewpaint_paper.jpgA page from the Pat Hanrahan and Paul Haeberli paper.A page from the Pat Hanrahan and Paul Haeberli paper.https://vfxblog.com/wp-content/uploads/2019/11/1a4d3-viewpaint_turntable.gifViewpaint_turntable2018-05-23T02:29:53+00:00weekly0.6https://vfxblog.com/2018/05/19/enter-the-trojan-horse-golden-ticket-challenge/https://vfxblog.com/wp-content/uploads/2019/11/12161-te-hu-5ed4e70deb38569d0704b920003764ae9df9c2dbbec70275c989e1afe36cbf65.jpgte-hu-5ed4e70deb38569d0704b920003764ae9df9c2dbbec70275c989e1afe36cbf652017 Golden Ticket Challenge winner Te Hu with the theme, THU Clans.2018-05-20T01:04:42+00:00monthlyhttps://vfxblog.com/2018/05/17/retro-vfx-godzilla-is-20/2018-05-18T00:23:23+00:00monthlyhttps://vfxblog.com/2018/05/16/invisible-effects-and-how-they-were-invisible/https://vfxblog.com/wp-content/uploads/2019/11/cf62c-invisiblefx.jpginvisiblefx2018-05-17T01:32:33+00:00monthlyhttps://vfxblog.com/2018/05/16/behind-the-scenes-of-altered-carbon/https://vfxblog.com/wp-content/uploads/2019/11/ea434-alteredcarbon.jpgAlteredCarbon2018-05-17T01:30:06+00:00monthlyhttps://vfxblog.com/2018/05/16/willow-is-30/https://vfxblog.com/wp-content/uploads/2019/11/6ba49-morf.jpgmorf2018-05-16T12:16:15+00:00monthlyhttps://vfxblog.com/2018/05/10/welcome-to-jurassic-park-25-years-ago/https://vfxblog.com/wp-content/uploads/2019/11/d669a-jurassic3dartist.jpgJurassic3DArtist2018-05-11T01:50:19+00:00monthlyhttps://vfxblog.com/2018/05/10/thanos-by-digital-domain-and-weta-digital/https://vfxblog.com/wp-content/uploads/2019/11/e51ac-infinitywar_main-1280x600.jpginfinitywar_main-1280x6002018-05-10T22:12:20+00:00monthlyhttps://vfxblog.com/2018/05/08/submit-your-film-to-view-conference/https://vfxblog.com/wp-content/uploads/2019/11/b645b-dsc02417.jpgDSC024172018-05-08T21:50:26+00:00monthlyhttps://vfxblog.com/godzilla-2/https://vfxblog.com/wp-content/uploads/2019/11/83668-volker-with-6th-scale-godzilla-mech-head_cc.jpgVFX supervisor Volker Engel with 6th scale Godzilla mechanical head. Photo by Isabella Vosmikova, © 1998 Tristar Pictures.VFX supervisor Volker Engel with 6th scale Godzilla mechanical head. Photo by Isabella Vosmikova, © 1998 Tristar Pictures.https://vfxblog.com/wp-content/uploads/2019/11/d1655-godzillabridgetest.jpgMock-up for Godzilla bridge scene.Mock-up for Godzilla bridge scene.https://vfxblog.com/wp-content/uploads/2019/11/c2a24-07_patrick-tatopoulos-6th-scale-godzilla-upper-torso_.jpgPatrick Tatopoulos 6th scale Godzilla upper torso. Destruction of miniature jetty with Godzilla head. Photo by Isabella Vosmikova, © 1998 Tristar Pictures.Patrick Tatopoulos 6th scale Godzilla upper torso. Destruction of miniature jetty with Godzilla head. Photo by Isabella Vosmikova, © 1998 Tristar Pictures.https://vfxblog.com/wp-content/uploads/2019/11/fd2ee-06_sinking-of-fishing-boat-miniatures_.jpgSinking of fishing boat miniatures. DP Anna Foerster with interior Madison Square Garden miniature. Madison Square Garden miniature. Photo by Isabella Vosmikova, © 1998 Tristar Pictures.Sinking of fishing boat miniatures. DP Anna Foerster with interior Madison Square Garden miniature. Madison Square Garden miniature. Photo by Isabella Vosmikova, © 1998 Tristar Pictures.https://vfxblog.com/wp-content/uploads/2019/11/6f6dc-05_destruction-of-miniature-jetty-with-godzilla-head_.jpgDestruction of miniature jetty with Godzilla head. Photo by Isabella Vosmikova, © 1998 Tristar Pictures.Destruction of miniature jetty with Godzilla head. Photo by Isabella Vosmikova, © 1998 Tristar Pictures.https://vfxblog.com/wp-content/uploads/2019/11/19aa0-04_-lead-sfx-technician-joe-heffernan-with-jetty-miniature_.jpgLead SFX Technician Joe Heffernan with jetty miniature. Photo by Isabella Vosmikova, © 1998 Tristar Pictures.Lead SFX Technician Joe Heffernan with jetty miniature. 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Photo courtesy of Volker Engel, © 1998 Tristar 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New Hope (1977)https://vfxblog.com/wp-content/uploads/2019/11/5d2ab-willow.jpgWillowWillow (1988)https://vfxblog.com/wp-content/uploads/2019/11/4aadc-starshiptroopers.jpgStarshipTroopersStarship Troopers (1997)https://vfxblog.com/wp-content/uploads/2019/11/b241b-robocop.jpgRoboCopRoboCop (1987)https://vfxblog.com/wp-content/uploads/2019/11/9e70e-returnofthejedi.jpgReturnoftheJediReturn of the Jedi (1983)https://vfxblog.com/wp-content/uploads/2019/11/da834-ptinspects.jpgPTINSPECTSA college-era photo of Phil Tippett inspecting an action figure.https://vfxblog.com/wp-content/uploads/2019/11/d3571-ptbends.jpgPTBendshttps://vfxblog.com/wp-content/uploads/2019/11/fbcda-madgod.jpgMadGodMad Godhttps://vfxblog.com/wp-content/uploads/2019/11/8fbf5-jurassicpark.jpgJurassicParkJurassic Park (1993)https://vfxblog.com/wp-content/uploads/2019/11/8d072-empirestrikesback.jpgEmpireStrikesBackThe Empire Strikes Back (1980)2018-04-03T10:54:49+00:00monthlyhttps://vfxblog.com/2018/04/02/2001-a-50-year-space-odyssey/https://vfxblog.com/wp-content/uploads/2019/11/94545-trumbull.jpgTrumbullhttps://vfxblog.com/wp-content/uploads/2019/11/e46e9-2001.jpg2001https://vfxblog.com/wp-content/uploads/2019/11/7f510-2001_slitscan_camera.jpg2001_Slitscan_camerahttps://vfxblog.com/wp-content/uploads/2019/11/67478-2001_slitscan_dougtrumbull.jpg2001_Slitscan_DougTrumbullhttps://vfxblog.com/wp-content/uploads/2019/11/9a01d-2001_slitscan_diagram.jpg2001_Slitscan_diagram2018-04-02T22:04:40+00:00monthlyhttps://vfxblog.com/2018/03/29/toys-mocap-and-some-killer-anim/https://vfxblog.com/wp-content/uploads/2019/11/9d578-pacrimuprising_tokyo2.jpgPacRimUprising_Tokyo22018-03-29T23:50:04+00:00monthlyhttps://vfxblog.com/2018/03/27/from-live-action-to-final-shots-a-weta-digital-case-study-on-maze-runner-the-death-cure/https://vfxblog.com/wp-content/uploads/2019/11/81cec-tdc_shots_tc_0260_186.1099.jpgtdc_shots_tc_0260_186.1099https://vfxblog.com/wp-content/uploads/2019/11/a7ef9-tdc_shots_tc_0260_12.0001.jpgtdc_shots_tc_0260_12.0001https://vfxblog.com/wp-content/uploads/2019/11/0d2c1-tdc_shots_nr_0210_45.1260.jpgtdc_shots_nr_0210_45.1260https://vfxblog.com/wp-content/uploads/2019/11/4281c-tdc_shots_nr_0210_13.0001.jpgtdc_shots_nr_0210_13.0001https://vfxblog.com/wp-content/uploads/2019/11/fbb95-tdc_shots_nr_0210_5.0001.jpgtdc_shots_nr_0210_5.0001https://vfxblog.com/wp-content/uploads/2019/11/add9e-tdc_shots_gt_0330_178.1002.jpgtdc_shots_gt_0330_178.1002https://vfxblog.com/wp-content/uploads/2019/11/0e9ef-tdc_shots_gt_0330_92.0001.jpgtdc_shots_gt_0330_92.0001https://vfxblog.com/wp-content/uploads/2019/11/f2038-tdc_shots_gt_0330_14.0001.jpgtdc_shots_gt_0330_14.0001https://vfxblog.com/wp-content/uploads/2019/11/0534a-tdc_shots_dc_0020_110.1138.jpgtdc_shots_dc_0020_110.1138https://vfxblog.com/wp-content/uploads/2019/11/49aca-tdc_shots_dc_0020_37.0001.jpgtdc_shots_dc_0020_37.00012018-03-28T00:16:17+00:00monthlyhttps://vfxblog.com/2018/03/26/down-the-rabbit-hole/https://vfxblog.com/wp-content/uploads/2019/11/22eec-peter.jpgpETER2018-03-27T04:46:05+00:00monthlyhttps://vfxblog.com/2018/03/22/visualizing-the-last-jedi/https://vfxblog.com/wp-content/uploads/2019/11/bdd72-2_ttf_tlj_brp_019_0010_previs.jpg2_TTF_TLJ_BRP_019_0010_PREVIS2018-03-23T06:43:47+00:00monthlyhttps://vfxblog.com/2018/03/22/how-to-animate-a-wes-anderson-film/https://vfxblog.com/wp-content/uploads/2019/11/121fe-isleofdogs_sushi.jpgisleofdogs_sushi2018-03-22T23:23:50+00:00monthlyhttps://vfxblog.com/2018/03/22/hostiles-an-invisible-fx-film/https://vfxblog.com/wp-content/uploads/2019/11/e67e8-arrow_final.jpgArrow_final2018-03-22T20:38:33+00:00monthlyhttps://vfxblog.com/2018/03/16/the-tick-and-the-cg-human/https://vfxblog.com/wp-content/uploads/2019/11/4bdca-thetick_5.jpgTheTick_52018-03-17T03:43:34+00:00monthlyhttps://vfxblog.com/2018/03/12/mandelbulbs-mutations-and-motion-capture-the-visual-effects-of-annihilation/https://vfxblog.com/wp-content/uploads/2019/11/69e8d-annihilation24.jpgAnnihilation24https://vfxblog.com/wp-content/uploads/2019/11/8124e-annihilation23.jpgAnnihilation23https://vfxblog.com/wp-content/uploads/2019/11/5de48-annihilation22.jpgAnnihilation22https://vfxblog.com/wp-content/uploads/2019/11/a3a19-annihilation21.jpgAnnihilation21https://vfxblog.com/wp-content/uploads/2019/11/3afe4-annihilation20.jpgAnnihilation20https://vfxblog.com/wp-content/uploads/2019/11/f3309-annihilation19.jpgAnnihilation19https://vfxblog.com/wp-content/uploads/2019/11/de201-annihilation18.jpgAnnihilation18https://vfxblog.com/wp-content/uploads/2019/11/2bb3e-annihilation17.jpgAnnihilation17https://vfxblog.com/wp-content/uploads/2019/11/8a6a4-annihilation16.jpgAnnihilation16https://vfxblog.com/wp-content/uploads/2019/11/9ac8a-annihilation15.jpgAnnihilation152018-03-12T20:51:47+00:00monthlyhttps://vfxblog.com/2018/03/07/new-mocap-video-of-andy-serkis-as-snoke/https://vfxblog.com/wp-content/uploads/2019/11/96489-andysnoke.jpgandysnoke2018-03-08T06:06:13+00:00monthlyhttps://vfxblog.com/2018/03/05/7-weeks-917-frames-glass-beads-hair-wax-and-vaseline/https://vfxblog.com/wp-content/uploads/2019/11/39608-earlyman_broll2.jpgEarlyMan_broll22018-03-05T20:35:52+00:00monthlyhttps://vfxblog.com/2018/03/04/fmx-2018-the-program/https://vfxblog.com/wp-content/uploads/2019/11/5cda3-fmx2018.pngFMX20182018-03-04T22:42:09+00:00monthlyhttps://vfxblog.com/2018/02/27/thanks-to-fox-renderfarm-for-sponsoring-vfxblog/https://vfxblog.com/wp-content/uploads/2019/11/11f2d-banner_horizonal.jpgbanner_horizonalhttps://vfxblog.com/wp-content/uploads/2019/11/70080-foxrenderfarm-1.jpgFoxRenderfarm2018-02-27T22:42:14+00:00monthlyhttps://vfxblog.com/2018/02/25/dark-city-at-20-a-conversation-with-colorist-peter-doyle/https://vfxblog.com/wp-content/uploads/2019/11/9cc04-darkcity9.jpgDarkCity9https://vfxblog.com/wp-content/uploads/2019/11/b1141-darkcity7.jpgDarkCity7https://vfxblog.com/wp-content/uploads/2019/11/f9b27-darkcity1.jpgDarkCity1https://vfxblog.com/wp-content/uploads/2019/11/51203-darkcity6.jpgDarkCity6https://vfxblog.com/wp-content/uploads/2019/11/0b34b-darkcity5.jpgDarkCity5https://vfxblog.com/wp-content/uploads/2019/11/8175e-darkcity4.jpgDarkCity4https://vfxblog.com/wp-content/uploads/2019/11/f9de7-darkcity3.jpgDarkCity3https://vfxblog.com/wp-content/uploads/2019/11/6aa9e-darkcity2.jpgDarkCity2https://vfxblog.com/wp-content/uploads/2019/11/30ebd-darkcitycinemapapers.jpgDarkCity+CinemaPapersAn advertisement for Dfilm in Australian publication Cinema Papers from May 1998.https://vfxblog.com/wp-content/uploads/2019/11/9997a-darkcity_ad.jpgDarkCity_adAn advertisement for Dfilm in Australian publication Cinema Papers from May 1998.2018-02-26T01:53:33+00:00monthlyhttps://vfxblog.com/2018/02/22/that-car-chase-in-black-panther/https://vfxblog.com/wp-content/uploads/2019/11/78832-blackpanther_luma_main-1280x600.jpgBlackPanther_Luma_main-1280x6002018-02-23T07:12:56+00:00monthlyhttps://vfxblog.com/2018/02/20/a-whole-bunch-of-blade-runner-2049-vfx-breakdowns-in-one-place/https://vfxblog.com/wp-content/uploads/2019/11/ad50b-screen-shot-2018-02-21-at-2.32.49-pm.jpgScreen Shot 2018-02-21 at 2.32.49 pm2018-02-21T03:41:57+00:00monthlyhttps://vfxblog.com/2018/02/19/tips-from-the-vfx-oscar-nominated-supes-for-working-with-directors/https://vfxblog.com/wp-content/uploads/2019/11/dd736-vfxoscar.jpgvfxoscar2018-02-20T01:29:32+00:00monthlyhttps://vfxblog.com/2018/02/17/aaron-sims-on-the-secrets-of-crafting-compelling-characters/https://vfxblog.com/wp-content/uploads/2019/11/1765d-aaron_sims_portrait.pngaaron_sims_portraitAaron Sims.https://vfxblog.com/wp-content/uploads/2019/11/af421-asc_amc_storyboards_v003.jpgASC_AMC_Storyboards_v003https://vfxblog.com/wp-content/uploads/2019/11/467b4-asc_amc_robot_sketches_v006.jpgASC_AMC_Robot_sketches_v006https://vfxblog.com/wp-content/uploads/2019/11/8b2cd-asc_amc_robot_cnpt_v015.jpgASC_AMC_Robot_cnpt_v015https://vfxblog.com/wp-content/uploads/2019/11/68b8e-asc_amc_gun_cnpt_v004.jpgASC_AMC_Gun_cnpt_v0042018-02-17T16:02:40+00:00monthlyhttps://vfxblog.com/2018/02/14/digital-humans-are-here/https://vfxblog.com/wp-content/uploads/2019/11/2a6f6-dv9dhkdvoaekvda.jpgDV9DHkDVoAEkvda2018-02-15T02:15:38+00:00monthlyhttps://vfxblog.com/2018/02/11/we-tried-a-million-things-the-oral-history-of-spheres-sphere/https://vfxblog.com/wp-content/uploads/2019/11/62070-sphere_v2.jpgSPHERE_V2Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2019/11/57aae-sphere1.gifSphere1Many of the iterations Cinesite tried for the Sphere.https://vfxblog.com/wp-content/uploads/2019/11/f155d-sphere2.jpgsphere2https://vfxblog.com/wp-content/uploads/2019/11/2485e-sphere2.gifSphere2A breakdown of the scene.https://vfxblog.com/wp-content/uploads/2019/11/f0855-sphere3.gifSphere3This breakdown shows what the actors were looking at on set.2018-02-12T05:16:36+00:00monthlyhttps://vfxblog.com/2018/02/10/a-candid-chat-with-the-director-of-peter-rabbit/https://vfxblog.com/wp-content/uploads/2019/11/c7b53-c2upchovqaekk1f.jpgC2UPChOVQAEKK1F2018-02-10T22:02:43+00:00monthlyhttps://vfxblog.com/2018/02/06/industry-news-iloura-merges-with-method-studios-and-the-lost-pirates-3-interview/https://vfxblog.com/wp-content/uploads/2019/11/40f48-method.jpgMethodhttps://vfxblog.com/wp-content/uploads/2019/11/e7bc0-pirates3a.jpgpirates3ahttps://vfxblog.com/wp-content/uploads/2019/11/b9f2f-pirates3b.jpgpirates3bhttps://vfxblog.com/wp-content/uploads/2019/11/1d2c0-pirates3c-396145651-1517828794443.jpgpirates3chttps://vfxblog.com/wp-content/uploads/2019/11/ca503-pirates3d.jpgpirates3dhttps://vfxblog.com/wp-content/uploads/2019/11/bf4a7-pirates3e-4278130374-1517828764239.jpgpirates3e2018-02-06T19:25:08+00:00monthlyhttps://vfxblog.com/2018/02/05/the-latest-from-vfx-voice/https://vfxblog.com/wp-content/uploads/2019/11/79fa3-downsizing3.jpgDownsizing32018-02-05T20:44:51+00:00monthlyhttps://vfxblog.com/2018/01/31/5-visual-stories-from-5-vfx-oscar-nominees/2018-02-01T07:19:52+00:00monthlyhttps://vfxblog.com/2018/01/31/kong-skull-island-final-battle-ilm/https://vfxblog.com/wp-content/uploads/2019/11/afe81-kg-ilm-017.jpgKG-ILM-017Luckily the director was focused, and he had a pretty clear direction of where he wanted things to go and just needed help working out the details. He knew that he needed, say, a fun moment in this part of the fight but didn't really know what that was, and that created fun opportunities for the team here to come up with fun opportunities that he was able to latch onto and expand from.https://vfxblog.com/wp-content/uploads/2019/11/51ae6-kg-ilm-019.jpgKG-ILM-019Another aspect of it was that you can't work on it linearly. You've got artists working on the beginning, middle and end all at the same time and it requires a certain type of thinking to get your head around that - working on something in its entirety all at one time kind of in parallel rather than in the natural progression of things, which sometimes you can paint yourself into a corner with that. https://vfxblog.com/wp-content/uploads/2019/11/32a95-kg-ilm-009.jpgKG-ILM-009We were constantly trying to explore different ways and different things the characters can do. You’ve got the goal of trying to accomplish something that hasn't been seen by audiences before. You want to keep the pacing of the scene exciting all while creating very dynamic shot compositions. https://vfxblog.com/wp-content/uploads/2019/11/26d53-kg-ilm-010.jpgKG-ILM-010For reference, anything we can get our hands on is fair game, but then we always had to rein it in to make sure that we were staying on model with the characters - to stay true to what the character is and how it should behave.https://vfxblog.com/wp-content/uploads/2019/11/f7cba-kg-ilm-011.jpgKG-ILM-011I worked with three or four animators for about two months designing the end battle. A large percentage of it was previs’d based on a description that was in the script but about half of it had to be re-worked - once we got into designing it with previs there were changes that the director, Jordan Vogt-Roberts, wanted to make and things that we discovered along the way that needed solutions that we had to find creative ways around.https://vfxblog.com/wp-content/uploads/2019/11/ec6f5-kg-ilm-013.jpgKG-ILM-013Overall it was probably the most rewarding sequence that we worked on and that we helped from its conception all the way through the finished product, and it's my favourite scene in the movie.https://vfxblog.com/wp-content/uploads/2019/11/615dc-kongvfx.jpgKongVFX2018-02-01T06:58:31+00:00monthlyhttps://vfxblog.com/2018/01/31/last-jedi-crystal-fox-ilm/https://vfxblog.com/wp-content/uploads/2019/11/792e2-fox3.jpgfox3Neal Scanlan’s practical effects team built an amazing practical model. When we looked at the animatronic it just didn't have the materials we were after. The plastics just looked a little too dull and they didn't really have that sparkle that we were after. https://vfxblog.com/wp-content/uploads/2019/11/6633e-fox2.jpgfox2One reason we went all-CG was that we really wanted to get that iridescence and oiliness in the reflectivity and the refractions that were in the original concepts, which were just stunning. And also we wanted to do the eyeballs like ‘cats eyes’ which are those reflective markers on roads.https://vfxblog.com/wp-content/uploads/2019/11/b2f7f-fox1.jpgfox1We also talked about whether ultimately you would be able to see the internal organs of the creature because even through all the layers of refraction into reflection kind of like are we going to put a solid body there. https://vfxblog.com/wp-content/uploads/2019/11/df8b9-vulptex-db-tlj_128dfbaf.jpgvulptex-db-tlj_128dfbafA woman had made a sculpture of a crystal fox and that drove some of the initial concept and then we pushed it a lot harder and gave them these amazing sort of Egyptian-like antlers. They're almost like gazelles with these tall pointed ears. And they've got a hard bony sort of carapace coming off the top of their heads that joins these longer crystals.https://vfxblog.com/wp-content/uploads/2019/11/771c5-crystalfox.jpgcrystalfoxFor the groom we had whole geometries that were actually groomed and reacted to the envelope of the skin. And then in between that coming towards the base it came down more to a procedural approach. https://vfxblog.com/wp-content/uploads/2019/11/10fcd-fox4.jpgfox4The sound of the crystals was important to the story. So when these guys move, it’s not quite a wind chime but it's very jingly jangly sort of new age crystals sound. 2018-02-01T06:56:52+00:00monthlyhttps://vfxblog.com/2018/01/31/war-apes-weta-digital-animation-smiles/https://vfxblog.com/wp-content/uploads/2019/11/ecea6-caesar2.jpgCaesar2You may not guess it, but there's a lot of Andy's eyes and brows in Caesar, for example.https://vfxblog.com/wp-content/uploads/2019/11/c30d0-maurice1.jpgMaurice1It’s a little bit trickier with say Karin Konoval. Karin played the Orangutan, Maurice. Though the faces are quite different, they almost don't have brows, and they have quite particular eye shape -very almond shaped eyes. https://vfxblog.com/wp-content/uploads/2019/11/770f0-maurice2.jpgMaurice2Beyond that things start getting a little trickier. The human and the ape face start to diverge a little bit, certainly around the muzzle. There's a fair bit of translation that goes on. https://vfxblog.com/wp-content/uploads/2019/11/1e821-badape1.jpgBadApe1The kind of expressions that chimps use are sometimes almost the antithesis of what a human expression might mean. A smile is not really a smile in nature with a chimp. They bare the teeth and you're not actually smiling at somebody. https://vfxblog.com/wp-content/uploads/2019/11/2b9ea-badape2.jpgBadApe2Even aside from the fact that a smile doesn't mean the same thing in a chimpanzee, it is one of the things that is potentially the hardest to bring through on a chimp face - to make it relatable for an audience, but not make the chimp look too menacing or too weird. We try to keep a library of successful smiles as we make them. https://vfxblog.com/wp-content/uploads/2019/11/63c85-caesar1.jpgCaesar1One of the things we did very early on with our hero characters, is we looked at the eyes and brows of our actors and we worked out what we could get into the facial rigs, what we could get into the ape models, to try and match the eyes as best we could. https://vfxblog.com/wp-content/uploads/2019/11/7c244-apevfx.jpgApeVFX2018-02-01T06:52:17+00:00monthlyhttps://vfxblog.com/2018/01/31/guardians-galaxy-vol2-dioramas-animal-logic/https://vfxblog.com/wp-content/uploads/2019/11/3f6d7-animallogic_diorama2.jpgAnimalLogic_diorama2So I said, ‘How about we put these weird crazy diorama-esque things, and these Hummel and Koons statues inside the eggs?’ And so that’s what Animal Logic did, we went down that alleyway, and it’s pretty weird, and crazy. https://vfxblog.com/wp-content/uploads/2019/11/b5d13-msl3020_cmp_v025.1034.jpgMSL3020_CMP_v025.1034James Gunn had referenced the a-ha ‘Take On Me’ video, which has that illustrative, 1980s feel. We wanted that in the fractal-filled palace that Animal Logic had built as a CG asset. We went went down that route and they worked on a bunch of illustrative looks, and James loved it, and we post-vis’d it and then there was the first test screening.https://vfxblog.com/wp-content/uploads/2019/11/04f16-guardians6.jpgguardians6There were a huge amount of challenges with the dioramas; how do you sell that? How do you tell a story and use imagery? Initially, we'd been through this idea of sand sculptures and Renaissance art, and animated paintings. https://vfxblog.com/wp-content/uploads/2019/11/c5d2a-guardians7.jpgguardians7Then Kevin Feige brought up the fact that Ego had travelled across the universe in this beautiful white ship, and it has these incredibly interesting minimalist shapes. https://vfxblog.com/wp-content/uploads/2019/11/01dba-guardians8.jpgguardians8One of the comments in the test screening was, ‘During the PowerPoint presentation bit...’ And we were like, ‘Okay. That doesn't work.’ It was two dimensions, and we needed something three dimensional.https://vfxblog.com/wp-content/uploads/2019/11/49714-guardians9.jpgguardians9It was a real struggle trying to come up with something, and James said, ‘I want something crazy. I want Jeff Koons meets Hummel sculptures. I want it to be catchy, and weird, but massive, oversized. It's gonna be really fun.’ 2018-02-01T06:46:50+00:00monthlyhttps://vfxblog.com/2018/01/31/blade-runner-2049-las-vegas-framestore/https://vfxblog.com/wp-content/uploads/2019/11/6f69b-120_0051_mis_v112_1084ab.jpg120_0051_MIS_v112_1084abhttps://vfxblog.com/wp-content/uploads/2019/11/6df17-119_0006_mis_v114_1042ab.jpg119_0006_MIS_v114_1042abThe idea of the human scale helped enormously in getting to realism by adding in remnants of human life, like tables and chairs, even though, in the end, you didn't see a lot of it. It grounded your perception of what it was to be able to say, ‘Okay, yeah, I think it looks real now.’ Without it, it was impossible.https://vfxblog.com/wp-content/uploads/2019/11/a4d41-116_0010_mis_v082_1041ab.jpg116_0010_MIS_v082_1041abhttps://vfxblog.com/wp-content/uploads/2019/11/f05e6-096_0500_pvg_v442_2054ab.jpg096_0500_PVG_v442_2054abAnother challenge was not having many windows on the buildings, a throwback to designer Syd Mead’s original artwork. Denis felt that the simple geometric shapes, particularly that Syd Mead diagonal that's common in all his building designs covered in as a big, monolithic piece of concrete, represented the mood, feel, and style of the film. It felt brutal, simplistic. So when that became applied to everything, everything looked the same. Everything. So that, on top of the fact that it was all heavily comforting to be simplistic in colour, left us with this feeling of it not being real. So we had to find a way to put enough details in there to believe it.https://vfxblog.com/wp-content/uploads/2019/11/d0494-096_0500_pvg_v442_1749ab.jpg096_0500_PVG_v442_1749abWhat also helped was the addition of volumetric rendering of the atmosphere, which we actually did twice. It helped make everything look more hazy and realistic, but it was also part of Denis’ storytelling of only allowing the audience to see so much, and allowing you to see when he wanted you to see it. So, if he didn't want you to see too much, we made the atmosphere heavier. He didn't want you to see certain aspects, he was really directing your eye to see what he wanted you to see. The renders were expensive, particularly to do two different ones, but it also hid a lot.https://vfxblog.com/wp-content/uploads/2019/11/a76a1-096_0500_pvg_v442_1597ab.jpg096_0500_PVG_v442_1597abOne of our drone shots was originally over 1,000 frames long and it took 13 hours to render with that volumetric haze. In the comp, there's a lens treatment that goes on that distorts the image when the lens rotates from one to the next. That did give us a bridge, so we could break up the renders into parts in the end. Denis ended up using it to shorten the sequence.https://vfxblog.com/wp-content/uploads/2019/11/e500b-096_0220_wvg_v270_1275ab.jpg096_0220_WVG_v270_1275abhttps://vfxblog.com/wp-content/uploads/2019/11/17362-096_0200_wvg_v117_1001ab.jpg096_0200_WVG_v117_1001abhttps://vfxblog.com/wp-content/uploads/2019/11/81987-096_0160_wvg_v249_1396ab.jpg096_0160_WVG_v249_1396abhttps://vfxblog.com/wp-content/uploads/2019/11/c869e-096_0070_wvg_v187_1200ab.jpg096_0070_WVG_v187_1200ab2018-02-01T06:42:27+00:00monthlyhttps://vfxblog.com/2018/01/28/deep-rising-blur-vfx-half-digested-billy-2/2018-01-29T05:49:18+00:00monthlyhttps://vfxblog.com/2018/01/28/a-guide-to-the-best-horror-effects/https://vfxblog.com/wp-content/uploads/2019/11/b8684-vfx1.jpgVFX12018-01-29T01:27:43+00:00monthlyhttps://vfxblog.com/2018/01/27/coming-this-week-to-vfxblog-5-visual-stories-from-5-vfx-oscar-nominees/https://vfxblog.com/wp-content/uploads/2019/11/eb705-vfxoscars1.jpgvfxoscars1https://vfxblog.com/wp-content/uploads/2019/11/beee1-br2049.jpgBR2049Blade Runner 2049https://vfxblog.com/wp-content/uploads/2019/11/905de-gotg.jpggotgGuardians of the Galaxy Vol. 2https://vfxblog.com/wp-content/uploads/2019/11/6e375-lastjedi1.jpgLastJedi1Star Wars: The Last Jedihttps://vfxblog.com/wp-content/uploads/2019/11/d6e0c-kong1.jpgKong1Kong: Skull Islandhttps://vfxblog.com/wp-content/uploads/2019/11/067ad-apes1.jpgApes1War for the Planet of the Apes2018-01-28T06:37:56+00:00monthlyhttps://vfxblog.com/2018/01/26/pakistan-animation-preview-allahyar-and-the-legend-of-markhor/https://vfxblog.com/wp-content/uploads/2019/11/bd3df-allahyah_main-1280x600.jpgAllahyah_main-1280x6002018-01-26T21:44:20+00:00monthlyhttps://vfxblog.com/2018/01/22/cloverfield-teaser-trailer-vfx/https://vfxblog.com/wp-content/uploads/2019/11/eb81a-cloverdneg.jpgCloverdnegA breakdown of DNEG's work on the Liberty head shot, as seen in the Studio Daily story.https://vfxblog.com/wp-content/uploads/2019/11/43834-clo_8.jpgclo_8A still showing Hammerhead's work in the teaser trailer.https://vfxblog.com/wp-content/uploads/2019/11/fda1e-cloverteaser.jpgcloverteaser2018-01-22T09:53:56+00:00monthlyhttps://vfxblog.com/2018/01/21/a-random-blast-from-the-past-cloning-freddie-prinze-jr/https://vfxblog.com/wp-content/uploads/2019/11/61fa6-freddie.jpgfreddieConcept art which was part of the planning for where to place greenscreens during the motion control shoot.https://vfxblog.com/wp-content/uploads/2019/11/8cde5-freddie1.jpgfreddie12018-01-22T01:24:20+00:00monthlyhttps://vfxblog.com/2018/01/20/behind-the-scenes-of-bbcs-christmas-stop-motion-film/https://vfxblog.com/wp-content/uploads/2019/11/cfbe7-animationbbc.jpgANIMATIONBBC2018-01-21T05:05:49+00:00monthlyhttps://vfxblog.com/2018/01/19/the-things-you-find-when-youre-doing-retro-vfx-research/https://vfxblog.com/wp-content/uploads/2019/11/2b1c0-ads.jpgadshttps://vfxblog.com/wp-content/uploads/2019/11/ebfdb-animal.jpgAnimal2018-01-20T01:47:36+00:00monthlyhttps://vfxblog.com/2018/01/19/thanks-to-ftrack-for-sponsoring-vfxblog/https://vfxblog.com/wp-content/uploads/2019/11/66edf-production-tracking-dark.pngproduction-tracking-dark2018-01-19T08:18:54+00:00monthlyhttps://vfxblog.com/2018/01/18/guillermo-del-toro-on-the-language-of-visual-effects/https://vfxblog.com/wp-content/uploads/2019/11/4250b-shape-1.jpgshape2018-01-18T22:53:03+00:00monthlyhttps://vfxblog.com/2018/01/18/how-snoke-evolved-in-the-last-jedi/https://vfxblog.com/wp-content/uploads/2019/11/974bf-snoke_main-1280x600.jpgSnoke_main-1280x6002018-01-18T22:04:25+00:00monthlyhttps://vfxblog.com/2018/01/17/making-memories-with-buf/https://vfxblog.com/wp-content/uploads/2019/11/f8246-deep_rising_tall.jpgDEEP_RISING_tallIllustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2019/11/71e73-deeprising_head.jpgDeepRising_headIllustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2019/11/e0bf2-deep_rising_v2.jpgDEEP_RISING_V2Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2019/11/1a931-deep_blur3.gifDeep_Blur3https://vfxblog.com/wp-content/uploads/2019/11/3b06c-deep_blur1.gifDeep_Blur1https://vfxblog.com/wp-content/uploads/2019/11/fb4b5-deep_blur2.gifDeep_Blur2https://vfxblog.com/wp-content/uploads/2019/11/43d15-deeprising2k_still.jpgDeepRising2k_stillhttps://vfxblog.com/wp-content/uploads/2019/11/63ffd-cinefex_deeprising1.jpgCinefex_DeepRising1A Cinefex ad that ran at the time.https://vfxblog.com/wp-content/uploads/2019/11/276a3-cinefex_deeprising.jpgCinefex_DeepRisingA Cinefex ad that ran at the time.2018-01-17T22:01:49+00:00monthlyhttps://vfxblog.com/2018/01/15/vfx-event-last-jedi-apes-blade-runner-paddington2-star-trek-neill-blomkamp/https://vfxblog.com/wp-content/uploads/2018/01/16586997_1580180925330451_293442045490814740_o.jpg16586997_1580180925330451_293442045490814740_ohttps://vfxblog.com/wp-content/uploads/2018/01/16707290_1580184838663393_4985466487747904210_o.jpg16707290_1580184838663393_4985466487747904210_oA pic from the Women in VFX panel I moderated last year. Photo by Ana Norambuena.https://vfxblog.com/wp-content/uploads/2018/01/16722407_1585412024807341_6007335600236501514_o.jpg16722407_1585412024807341_6007335600236501514_oPhoto by Cindy LMh.https://vfxblog.com/wp-content/uploads/2018/01/spark1.jpgspark12018-01-15T20:44:47+00:00monthlyhttps://vfxblog.com/how-you-can-support-vfxblog/2018-01-15T01:09:56+00:00weekly0.6https://vfxblog.com/2017/12/27/the-last-jedi-hyperspace-holdo-vfx/https://vfxblog.com/wp-content/uploads/2017/12/giphy-8.gifgiphy (8)https://vfxblog.com/wp-content/uploads/2017/12/ep8-ff-003419_7bd5f27c.jpegep8-ff-003419_7bd5f27chttps://vfxblog.com/wp-content/uploads/2017/12/raddus.jpgRaddushttps://vfxblog.com/wp-content/uploads/2017/12/snokeship.jpgSnokeshiphttps://vfxblog.com/wp-content/uploads/2017/12/ep8-046705_rsm.jpgnullLaura Dern is Amilyn Holdo in THE LAST JEDI.2018-01-12T04:11:39+00:00monthlyhttps://vfxblog.com/2018/01/11/character-and-performance-in-paddington-2/https://vfxblog.com/wp-content/uploads/2018/01/paddington2-firstlookimage001.jpgpaddington2-firstlookimage0012018-01-11T21:41:52+00:00monthlyhttps://vfxblog.com/2018/01/10/old-school-star-wars-and-the-path-of-innovation/https://vfxblog.com/wp-content/uploads/2018/01/pix-4-theempirestrikesback_tauntaun.jpgPIX-4-TheEmpireStrikesBack_tauntaun2018-01-10T20:21:05+00:00monthlyhttps://vfxblog.com/2018/01/08/vfx-voice-on-the-last-jedi/https://vfxblog.com/wp-content/uploads/2018/01/jedi.jpgjedi2018-01-08T18:54:33+00:00monthlyhttps://vfxblog.com/2017/12/30/how-to-rey-kylo-vs-snokes-elite-praetorian-guard/https://vfxblog.com/wp-content/uploads/2017/12/lightsaber.jpglightsaberhttps://vfxblog.com/wp-content/uploads/2017/12/rey.gifReyhttps://vfxblog.com/wp-content/uploads/2017/12/ep8-ff-003799.jpgnullStar Wars: The Last Jedi..Praetorian Guards..Photo: Industrial Light & Magic/Lucasfilm..©2017 Lucasfilm Ltd. All Rights Reserved.2018-01-08T00:56:25+00:00monthlyhttps://vfxblog.com/2018/01/07/re-visiting-jumanji/https://vfxblog.com/wp-content/uploads/2018/01/pix-1-ilm-jumanji-kyle_-balda_.jpgPIX-1-ilm.jumanji.Kyle_.Balda_2018-01-08T00:55:11+00:00monthlyhttps://vfxblog.com/2018/01/05/the-vfx-magic-of-the-shape-of-water/https://vfxblog.com/wp-content/uploads/2018/01/zz033b-d150_070_anim_playblast_v013-1051.jpgzz033b.D150_070_anim_playblast_v013.10512018-01-05T23:39:47+00:00monthlyhttps://vfxblog.com/2018/01/05/ten-things-i-learned-from-ilm-about-the-last-jedis-space-battles/https://vfxblog.com/wp-content/uploads/2018/01/ep8-ff-002405_46c7d26b.jpegep8-ff-002405_46c7d26bhttps://vfxblog.com/wp-content/uploads/2018/01/greeblies-falcon1.jpggreeblies-falcon1Greeblies! https://vfxblog.com/wp-content/uploads/2018/01/dogfight-us-navy-diorama-photo-1536x864-434963473910.jpgDogfight-US-Navy-Diorama-Photo-1536x864-434963473910Source: official Star Wars site: http://www.starwars.com/news/from-world-war-to-star-wars-dogfightshttps://vfxblog.com/wp-content/uploads/2018/01/tumblr_o6d01201lk1qzsjdko1_1280.jpgtumblr_o6d01201Lk1qzsjdko1_1280Source: Rian Johnson's tumblr site: http://rcjohnso.tumblr.com/https://vfxblog.com/wp-content/uploads/2018/01/ep8-ff-001424.jpgnullStar Wars: The Last Jedi..Kylo Ren's TIE Silencer..Photo: Industrial Light & Magic/Lucasfilm..©2017 Lucasfilm Ltd. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2018/01/ep8-ff-000047.jpgnullStar Wars: The Last Jedi..Photo: Film Frames Industrial Light & Magic/Lucasfilm..©2017 Lucasfilm Ltd. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2018/01/ep8-ff-005239.jpgnullStar Wars: The Last Jedi...Poe's Resistance X-Wing..Photo: Lucasfilm Ltd. ..© 2017 Lucasfilm Ltd. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2018/01/ep8-ff-000903.jpgnullStar Wars: The Last Jedi..Poe's X-Wing flies towards the Dreadnaught ship..Photo: Industrial Light & Magic/Lucasfilm..©2017 Lucasfilm Ltd. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2018/01/ep8-ff-000045.jpgnullStar Wars: The Last Jedi..Photo: Film Frames Industrial Light & Magic/Lucasfilm..©2017 Lucasfilm Ltd. All Rights Reserved.2018-01-05T12:37:42+00:00monthlyhttps://vfxblog.com/2018/01/05/the-shape-of-water-amazing/https://vfxblog.com/wp-content/uploads/2018/01/shape.jpgshape2018-01-05T12:33:12+00:00monthlyhttps://vfxblog.com/2018/01/04/blade-runner-2049-vfx-breakdown-joi-los-angeles/https://vfxblog.com/wp-content/uploads/2018/01/triboro_env_city_concept_dhr_b_v01.jpgTRIBORO_Env_City_Concept_DHR_B_V01https://vfxblog.com/wp-content/uploads/2018/01/triboro_env_city_concept_ab_v05-1.jpgTriboro_Env_City_Concept_AB_V05-1https://vfxblog.com/wp-content/uploads/2018/01/e_trm_051_0120_grey_v027_pr_v003-1001.jpge_trm_051_0120_Grey_v027_PR_v003.1001https://vfxblog.com/wp-content/uploads/2018/01/e_trm_051_0120_comp_v027_pr_v003-1001.jpge_trm_051_0120_comp_v027_PR_v003.1001https://vfxblog.com/wp-content/uploads/2018/01/e_ssw_148_0100_bg01_scan_pr_v003-1001.jpge_ssw_148_0100_bg01_scan_PR_v003.1001https://vfxblog.com/wp-content/uploads/2018/01/e_ssw_144_0030_grey_v065_pr_v002-1001.jpge_ssw_144_0030_grey_v065_PR_v002.1001https://vfxblog.com/wp-content/uploads/2018/01/e_ssw_144_0030_comp_v065_pr_v002-1001.jpge_ssw_144_0030_comp_v065_PR_v002.1001https://vfxblog.com/wp-content/uploads/2018/01/e_srt_019_0120_joi_shell_pr_v003-1001.jpge_srt_019_0120_Joi_shell_PR_v003.1001https://vfxblog.com/wp-content/uploads/2018/01/e_srt_019_0120_final_comp_pr_v003-1001.jpge_srt_019_0120_Final_comp_PR_v003.1001https://vfxblog.com/wp-content/uploads/2018/01/e_kmp_142_0110_comp_v165_pr_v004-1001.jpge_kmp_142_0110_comp_v165_PR_v004.10012018-01-05T03:32:31+00:00monthlyhttps://vfxblog.com/2018/01/04/checking-in-with-neill-blomkamps-oats-studios/https://vfxblog.com/wp-content/uploads/2018/01/oats.jpgoats2018-01-04T23:21:01+00:00monthlyhttps://vfxblog.com/2018/01/04/a-directors-perspective-on-vfx/https://vfxblog.com/wp-content/uploads/2018/01/image7.jpgImage72018-01-04T21:28:34+00:00monthlyhttps://vfxblog.com/2018/01/03/latest-vfx-voice-pieces-theres-a-lot/https://vfxblog.com/wp-content/uploads/2018/01/screen-shot-2018-01-04-at-9-40-12-am.jpgScreen Shot 2018-01-04 at 9.40.12 AM2018-01-03T22:58:46+00:00monthlyhttps://vfxblog.com/2018/01/01/crafting-crait-ilms-vfx-supe-on-how-rian-johnson-wanted-to-go-redder-redder-redder/https://vfxblog.com/wp-content/uploads/2017/12/ep8-ff-0037991.jpgnullStar Wars: The Last Jedi..Praetorian Guards..Photo: Industrial Light & Magic/Lucasfilm..©2017 Lucasfilm Ltd. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2017/12/ep8-ff-000017.jpgnullStar Wars: The Last Jedi..The planet Crait..Photo: Film Frames Industrial Light & Magic/Lucasfilm..©2017 Lucasfilm Ltd. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2017/12/ep8-ff-000021.jpgnullStar Wars: The Last Jedi..The planet Crait..Photo: Film Frames Industrial Light & Magic/Lucasfilm..©2017 Lucasfilm Ltd. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2017/12/ep8-ff-000020.jpgnullStar Wars: The Last Jedi..The planet Crait..Photo: Film Frames Industrial Light & Magic/Lucasfilm..©2017 Lucasfilm Ltd. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2017/12/ep8-ff-003813.jpgnullStar Wars: The Last Jedi..Finn (John Boyega) in a Ski Speeder on Crait..Photo: Industrial Light & Magic/Lucasfilm..©2017 Lucasfilm Ltd. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2017/12/crait1.jpgCrait1https://vfxblog.com/wp-content/uploads/2017/12/ep8-ff-005235.jpgnullStar Wars: The Last Jedi..The Millennium Falcon being chased by First Order TIE Fighters..Photo: Lucasfilm Ltd. ..© 2017 Lucasfilm Ltd. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2017/12/ep8-ff-005209.jpgnullStar Wars: The Last Jedi..AT-M6 Walkers, along with Kylo's Shuttle..Photo: Lucasfilm Ltd. ..© 2017 Lucasfilm Ltd. All Rights Reserved.2018-01-01T23:39:50+00:00monthlyhttps://vfxblog.com/2017/10/23/how-blade-runner-2049s-virtual-menage-a-trois-was-made/https://vfxblog.com/wp-content/uploads/2017/10/br-vfx-dn-010.jpge_dtr_076_0030_merge_grey_light_wire_PR_v004.1001.tiffMerged Ana and Mariette. The actresses were also scanned on the Light Stage to produce a digital hybrid of both of them.https://vfxblog.com/wp-content/uploads/2017/10/br-vfx-dn-008.jpge_dtr_076_0030_bg02_PR_v004.1001.tiffAna frame.https://vfxblog.com/wp-content/uploads/2017/10/br-vfx-dn-007.jpge_dtr_076_0030_bg01_witness_PR_v004.1001.tiffWitness camera views from the shoot.https://vfxblog.com/wp-content/uploads/2017/10/br-vfx-dn-006.jpge_dtr_076_0030_bg01_retime_PR_v004.1001.tiffMariette frame.2017-12-30T18:59:10+00:00monthlyhttps://vfxblog.com/2017/12/27/new-3d-world-mag-goes-deep-on-the-last-jedi-houdini-and-massive/https://vfxblog.com/wp-content/uploads/2017/12/2zvdwzkxjip4uvyjrxy7je-970-80.jpg2zVDWzKxJip4UVyJrXy7JE-970-802017-12-27T20:42:30+00:00monthlyhttps://vfxblog.com/2017/12/24/invisible-fx-in-baby-driver-atomic-blonde-and-detroit/https://vfxblog.com/wp-content/uploads/2017/12/o_bd_025_0090_comp_v028-1026.jpgo_bd_025_0090_comp_v028.10262017-12-24T14:06:59+00:00monthlyhttps://vfxblog.com/2017/12/24/paddington-2-pop-up-fun/https://vfxblog.com/wp-content/uploads/2017/12/paddington2-still001.jpgpaddington2-still0012017-12-24T14:02:38+00:00monthlyhttps://vfxblog.com/2017/05/21/the-lost-world-turns-20/https://vfxblog.com/wp-content/uploads/2017/05/lost_world_v1_full.jpgLost_World_V1_FullIllustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/05/compys.jpgCompysA screenshot of work in progress animation for ILM's Compys.https://vfxblog.com/wp-content/uploads/2017/05/round-up-1.jpgROUND UP-1On the hunt: The "Round Up" Sequence.https://vfxblog.com/wp-content/uploads/2017/05/movement-bible-1.jpgMOVEMENT BIBLE-1Randal Dutra animating the stop-motion Raptor model for the "Dinosaur Movement Bible". December, 1991.https://vfxblog.com/wp-content/uploads/2017/05/location-2.jpgLOCATION-2Muren (left) and Dutra (right) gather lighting reference on location using a Winston T-Rex model.https://vfxblog.com/wp-content/uploads/2017/05/ilm.jpgILMAnimation Director Randal M. Dutra with Lead Animator Miguel Fuertes on a Compy shot for The Lost World.https://vfxblog.com/wp-content/uploads/2017/05/dutra-dinosaur-1984.jpgDUTRA-Dinosaur! 1984The Raptor pair that Randal Dutra designed, sculpted, fabricated and animated for the 1985 documentary Dinosaur! The models were 16" long.https://vfxblog.com/wp-content/uploads/2017/05/did-3.jpgDID-3Tom St. Amand (left) and Randal Dutra (right) taking a break at the end of production with the Raptor DID.https://vfxblog.com/wp-content/uploads/2017/05/did-2.jpgDID-2Dutra animating the Raptor DID hunting the children in the "Raptor Kitchen" sequence. Note the foam core set piece representing the kitchen cabinet and counter top. December, 1992.https://vfxblog.com/wp-content/uploads/2017/05/did-1.jpgDID-1Dutra animating the Raptor DID leaping onto the kitchen countertop for the "Raptor Kitchen" sequence as seen in the final film. December, 1992.2017-12-24T09:11:08+00:00monthlyhttps://vfxblog.com/2017/12/23/downsizing-is-a-great-addition-to-a-rich-history-of-miniaturization-effects-films-without-being-an-effects-film/https://vfxblog.com/wp-content/uploads/2017/12/downsizing_main-1280x600.jpgdownsizing_main-1280x6002017-12-23T08:39:37+00:00monthlyhttps://vfxblog.com/2017/12/22/jumanjis-cg-and-other-effects/https://vfxblog.com/wp-content/uploads/2017/12/jumanji1.jpgJumanji12017-12-22T09:45:04+00:00monthlyhttps://vfxblog.com/2017/12/20/dry-for-wet-practical-suits-and-cgi-how-effects-techniques-were-combined-in-the-shape-of-water/https://vfxblog.com/wp-content/uploads/2017/12/zz033c-d150_070_comp_v016-1051.jpgzz033c.D150_070_comp_v016.10512017-12-20T20:42:59+00:00monthlyhttps://vfxblog.com/2017/12/19/indian-in-the-cupboard-vfx/https://vfxblog.com/wp-content/uploads/2017/12/tinkerbell.jpgTinkerbellhttps://vfxblog.com/wp-content/uploads/2017/12/hook_tink.jpghook_tinkhttps://vfxblog.com/wp-content/uploads/2017/12/indian_art3.jpgIndian_art3https://vfxblog.com/wp-content/uploads/2017/12/indian_art2.jpgIndian_art2https://vfxblog.com/wp-content/uploads/2017/12/indian3.gifIndian3https://vfxblog.com/wp-content/uploads/2017/12/indian2.gifIndian2https://vfxblog.com/wp-content/uploads/2017/12/indian1.gifIndian1https://vfxblog.com/wp-content/uploads/2017/12/indianinthecupboard.jpgTHE INDIAN IN THE CUPBOARD, Hal Scardino, Litefoot, 1995. ©Columbia Pictures/Courtesy Everett CollectionHCWGEA THE INDIAN IN THE CUPBOARD, Hal Scardino, Litefoot, 1995. ©Columbia Pictures/Courtesy Everett Collectionhttps://vfxblog.com/wp-content/uploads/2017/12/1512529134226.jpg1512529134226https://vfxblog.com/wp-content/uploads/2017/12/20171205_205501.jpg20171205_205501Eric Brevig (back left) with ILM crew reviewing shots for The Indian in the Cupboard.2017-12-19T11:53:14+00:00monthlyhttps://vfxblog.com/2017/12/14/are-you-planning-for-fmx-yet/https://vfxblog.com/wp-content/uploads/2017/12/fmx2018.jpgfmx20182017-12-15T01:24:49+00:00monthlyhttps://vfxblog.com/2017/12/14/rachael-reborn/https://vfxblog.com/wp-content/uploads/2017/12/rachael.jpgRachael2017-12-15T00:44:04+00:00monthlyhttps://vfxblog.com/2017/12/14/massive-in-thor-ragnarok/https://vfxblog.com/wp-content/uploads/2017/12/brb999_1120_comp_mastercomp_v031_main_1037.jpgBrb999_1120_comp_mastercomp_v031_main_10372017-12-15T00:41:32+00:00monthlyhttps://vfxblog.com/2017/12/14/blue-sky-director-carlos-carlos-saldanha-on-ferdinand/https://vfxblog.com/wp-content/uploads/2017/12/publ_080_620_135_4k_universalcolor_wb.jpgpubl_080_620_135_4K_UniversalColor_WB2017-12-15T00:39:38+00:00monthlyhttps://vfxblog.com/2017/12/12/titanic-vfx-producer-james-cameron/https://vfxblog.com/wp-content/uploads/2017/12/titanic_bts.jpgTitanic_BTShttps://vfxblog.com/wp-content/uploads/2017/12/16807187_10155830772523852_3441808574742505630_n.jpg16807187_10155830772523852_3441808574742505630_nhttps://vfxblog.com/wp-content/uploads/2017/12/chopper.pngchopperhttps://vfxblog.com/wp-content/uploads/2017/12/variety.jpgvarietyhttps://vfxblog.com/wp-content/uploads/2017/12/titanicilm.jpgtitanicILMhttps://vfxblog.com/wp-content/uploads/2017/12/titanic-3d-2.jpgTitanic-3D-2https://vfxblog.com/wp-content/uploads/2017/12/titanic-3d-6.jpgTitanic-3D-6https://vfxblog.com/wp-content/uploads/2017/12/camille_cellucci_headshot_vrtcl.jpgCamille_Cellucci_headshot_vrtclCamille Cellucci.https://vfxblog.com/wp-content/uploads/2017/12/titanic_bow.jpgTitanic_bowhttps://vfxblog.com/wp-content/uploads/2017/12/launch.jpgLaunch2017-12-13T04:34:47+00:00monthlyhttps://vfxblog.com/2017/12/12/making-coco-pop/https://vfxblog.com/wp-content/uploads/2017/12/pixar.jpgpixar2017-12-12T22:15:23+00:00monthlyhttps://vfxblog.com/2017/12/11/breaking-down-the-beautybot/https://vfxblog.com/wp-content/uploads/2017/12/beauty1.jpgbeauty12017-12-12T04:39:00+00:00monthlyhttps://vfxblog.com/2017/12/07/titanic-propeller-guy-vfx-secrets/https://vfxblog.com/wp-content/uploads/2017/12/titanic_propeller_man.jpgTITANIC_PROPELLER_ManIllustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/12/titanic_propeller1.jpgTITANIC_PROPELLER1Illustration by Aidan Roberts. https://vfxblog.com/wp-content/uploads/2017/12/andyjones_nifff1.jpgAndyJones_NIFFF1Andy Jones spoke about his work on propeller guy, and his many other projects, at the Imagining the Future symposium at NIFFF (Neuchâtel International Fantastic Film Festival) in 2016. Watch the full video here. https://vfxblog.com/wp-content/uploads/2017/12/propguy.gifPropGUYhttps://vfxblog.com/wp-content/uploads/2017/12/roble1.jpgroble1https://vfxblog.com/wp-content/uploads/2017/12/slideshow.jpgslideshowhttps://vfxblog.com/wp-content/uploads/2017/12/still5.jpgStill5https://vfxblog.com/wp-content/uploads/2017/12/still4.jpgStill4https://vfxblog.com/wp-content/uploads/2017/12/still3.jpgStill3https://vfxblog.com/wp-content/uploads/2017/12/still2.jpgStill22017-12-08T03:03:39+00:00monthlyhttps://vfxblog.com/2017/12/07/thirsty-work/https://vfxblog.com/wp-content/uploads/2017/12/aardmannathanlove_sprite_main-1280x600.jpgAardmanNathanLove_Sprite_main-1280x6002017-12-07T21:02:59+00:00monthlyhttps://vfxblog.com/2017/12/06/cg-humans-in-real-time/https://vfxblog.com/wp-content/uploads/2017/12/adamep3main-1280x600.jpgAdamEp3main-1280x6002017-12-07T05:09:39+00:00monthlyhttps://vfxblog.com/2017/11/30/making-the-tick-tick/https://vfxblog.com/wp-content/uploads/2017/11/syfy_thetick.jpgSyfy_TheTick2017-12-01T02:10:07+00:00monthlyhttps://vfxblog.com/2017/11/26/flubber-turns-20-how-ilm-made-the-shape-shifting-green-goo-come-to-life/https://vfxblog.com/wp-content/uploads/2017/11/bs12.jpgbs12Flubber scare Polaroid.https://vfxblog.com/wp-content/uploads/2017/11/desk.jpgdeskAlexy's desk at ILM during the making of Flubber.https://vfxblog.com/wp-content/uploads/2017/11/img_0004.jpgIMG_0004Luke O’Byrne.https://vfxblog.com/wp-content/uploads/2017/11/img_0001.jpgIMG_0001Roni McKinley.https://vfxblog.com/wp-content/uploads/2017/11/img_0011.jpgJeff Light’s first Flubber test.https://vfxblog.com/wp-content/uploads/2017/11/scan-12.jpgScan 12Flubber crew.https://vfxblog.com/wp-content/uploads/2017/11/flubber_puppy.jpgflubber_puppyhttps://vfxblog.com/wp-content/uploads/2017/11/flubber_dance1.jpgFlubber_dancehttps://vfxblog.com/wp-content/uploads/2017/11/tombertino.jpgtombertinoVFX supervisor Tom Bertino. 'Always on the move!', says Alexy.https://vfxblog.com/wp-content/uploads/2017/11/scan-38.jpgScan 38Amanda Montgomery.2017-11-27T01:41:53+00:00monthlyhttps://vfxblog.com/2017/11/25/jan-pinkava-on-20-years-of-geris-game/https://vfxblog.com/wp-content/uploads/2017/11/img_7156.jpgIMG_71562017-11-25T22:08:43+00:00monthlyhttps://vfxblog.com/2017/11/22/the-surprising-costume-vfx-in-thor-ragnarok/https://vfxblog.com/wp-content/uploads/2017/11/cre-11336_r.jpgnullThor: Ragnarok..Director Taika Waititi on set with Cate Blanchett (Hela)..Photo: Jasin Boland..©Marvel Studios 20172017-11-22T20:53:11+00:00monthlyhttps://vfxblog.com/2017/11/21/behind-the-scenes-of-valerians-big-market/https://vfxblog.com/wp-content/uploads/2017/11/valerian3.jpgValerian32017-11-21T09:24:17+00:00monthlyhttps://vfxblog.com/2017/11/20/early-vfx-oscar-predictions/https://vfxblog.com/wp-content/uploads/2017/11/vfxoscars2018_main-1280x600.jpgVFXOscars2018_main-1280x6002017-11-20T23:26:54+00:00monthlyhttps://vfxblog.com/2017/11/20/lytros-volume-tracer/https://vfxblog.com/wp-content/uploads/2017/11/lytrovolumetracer_main-1280x600.jpglytrovolumetracer_main-1280x6002017-11-20T23:24:23+00:00monthlyhttps://vfxblog.com/2017/11/16/siggraph-asia-tech-papers-preview-3d-avatars-from-a-single-photo/https://vfxblog.com/wp-content/uploads/2017/11/pinscreen.jpgpinscreenhttps://vfxblog.com/wp-content/uploads/2017/11/paper.jpgpaperDownload the paper here. The full citation is AVATAR DIGITIZATION FROM A SINGLE IMAGE FOR REAL-TIME RENDERING Liwen Hu, Shunsuke Saito, Lingyu Wei, Koki Nagano, Jaewoo Seo, Jens Fursund, Iman Sadeghi, Carrie Sun, Yen-Chun Chen, Hao Li ACM Transactions on Graphics, Proceedings of the 10th ACM SIGGRAPH Conference and Exhibition in Asia 2017, 11/2017 – SIGGRAPH ASIA 2017.2017-11-16T20:35:47+00:00monthlyhttps://vfxblog.com/2017/11/14/olivier-gondry-on-the-making-of-kylie-minogues-come-into-my-world/https://vfxblog.com/wp-content/uploads/2017/11/kylie_v2.jpgKylie_v2Illustration by Aidan Roberts.2017-11-16T03:00:36+00:00monthlyhttps://vfxblog.com/2017/11/10/thor-ragnaroks-sakaar-chase-scene-was-also-a-courtship-dance/https://vfxblog.com/wp-content/uploads/2017/11/image6.jpgImage6Dave Hodgins: Some shots required 100% digi double and others were digi double hand-offs to the plate. In one shot, we went from Valkyrie digi-double to actor and back to digi double. In terms of animation, we ended up hand animating or roto-mating most shots. A couple of shots we used a Xsens MVN suit that let us capture a few reference moves without setting up a whole motion capture session. https://vfxblog.com/wp-content/uploads/2017/11/image5.jpgImage5Dave Hodgins: The destruction of ships and buildings were accomplished through our Houdini pipeline. Using gas sims for explosions and fluid sims for the splashes of ships crashing into water we straddled the line of realism and readability. With the ships flying at such high speeds some effects would become blurs and lose the detail that we wanted. Some smoke volumes needed to be bigger just to stay on screen long enough so there were various cheats taking place to carry out the story point in each shot.https://vfxblog.com/wp-content/uploads/2017/11/image4.jpgImage4Jake Morrison: To film the scene, having an insane amount of wind was the only way we could do that. We still built all the spaceships, but they're basically all just wooden stand-ins. We did it all in the car park actually out the back of the studio, and just really asked our special effects brothers and sisters to just bring all of the wind, please. The point was, if you're in an open-top car and it's going 30 miles an hour, you've got to shout. So if these people are actually standing on the top of a spaceship going at Mach 4, fine they're Gods, but at least their hair's got to be doing something, you know?https://vfxblog.com/wp-content/uploads/2017/11/image7.jpgImage7<DD><DD>/dd/shows/ROK/user/work.ebeaver/nuke/ROK_publicity_stills.nk</DD><DD>/dd/shows/ROK/user/work.ebeaver/nuke/ROK_publicity_stills.nk</DD><DD /></DD>https://vfxblog.com/wp-content/uploads/2017/11/image9.jpgImage9Dave Hodgins: The challenge for us was not about building a city per se, which we've done before, but building enough city to fly through at 500 mph. Our original city would only cover a couple hundred frames and we'd have to reset the camera. Asset-wise the city was a lot of work for lookdev and textures. The visual development for the city hadn't been finalized when we started the sequence so we helped experiment with looks and color schemes for Sakaar. It was meant to be a very colorful city but we hadn't defined if it was neon or pastel in its hues yet. On top of that, director Taika Waititi wanted the city to feel lived in but not industrial which steered our choice of windows, traffic and atmospherics.https://vfxblog.com/wp-content/uploads/2017/11/image2.jpgImage2Dave Hodgins: The wastelands of Sakaar were much easier problem to solve. We populated these shots by procedural garbage scatter using a big library of debris and hero models. We created proxy mounds that would designate where these garbage piles would exist in our animation renders and these would be turned into fully detailed garbage stacks in Houdini. Then white water would be generated around the piles so they sat in the ocean surface nicely, with hero splash elements added when needed.https://vfxblog.com/wp-content/uploads/2017/11/image1.jpgImage1Jake Morrison: There's also a subtext where it's actually kind of a courtship dance, which I think is a kind of hysterical sub-note, which is when Thor sees Val and she slaps into the windscreen and then you get the, ‘Get inside!’, and she says, ‘In a minute!’ And then she runs off and does the supercool jump off the back of the ship and then lands on the other one, starts ripping the ship apart, then jumps onto the next one as it explodes and drops. Thor looks back and he's definitely gone a big goo-goo eyed, and he's like, ‘I probably should go back and help.’ It's like courtship dance where they're really just trying to impress each other a little bit, and it's like two peacocks strutting their stuff, which I think is really quite sweet.https://vfxblog.com/wp-content/uploads/2017/11/imagex.jpgImageXJake Morrison: Taika really wanted to get across the feeling of a really intense manual transmission stick-shift car chase. He really wanted to do like the early George Miller stuff, and the late George Miller stuff too, but particularly we kept going back to the cameras mounted on the dash on the Interceptor like on the original Mad Max film. As if you’re actually feel the transmission being shifted all the time.2017-11-10T23:14:01+00:00monthlyhttps://vfxblog.com/2017/11/10/korg-that-is-all/https://vfxblog.com/wp-content/uploads/2017/11/korg.jpgKorg2017-11-10T21:36:50+00:00monthlyhttps://vfxblog.com/2017/11/09/thor-ragnarok-perception-title-designs/https://vfxblog.com/wp-content/uploads/2017/11/warsong_03.jpgWarsong_03https://vfxblog.com/wp-content/uploads/2017/11/warsong_01.jpgWarsong_01https://vfxblog.com/wp-content/uploads/2017/11/scc2590_comp_v502-1081.jpgSCC2590_comp_v502.1081https://vfxblog.com/wp-content/uploads/2017/11/torana_03.jpgTorana_03https://vfxblog.com/wp-content/uploads/2017/11/scc4420_comp_v503-1039.jpgSCC4420_comp_v503.1039https://vfxblog.com/wp-content/uploads/2017/11/scc2200_comp_v504-1007.jpgSCC2200_comp_v504.1007https://vfxblog.com/wp-content/uploads/2017/11/crmoe_comp_v091-3913.jpgCRMOE_comp_v091.3913https://vfxblog.com/wp-content/uploads/2017/11/crmoe_comp_v091-3460.jpgCRMOE_comp_v091.3460https://vfxblog.com/wp-content/uploads/2017/11/crmoe_comp_v091-3106.jpgCRMOE_comp_v091.3106https://vfxblog.com/wp-content/uploads/2017/11/crmoe_comp_v091-2718.jpgCRMOE_comp_v091.27182017-11-10T01:15:26+00:00monthlyhttps://vfxblog.com/2017/11/09/behind-the-scenes-of-that-super-cool-bifrost-scene-in-thor-ragnarok/https://vfxblog.com/wp-content/uploads/2017/11/cr2_hel1000_plateprep_bg08-repo_v006-1066.jpgcr2_hel1000_platePrep_bg08-repo_v006.1066https://vfxblog.com/wp-content/uploads/2017/11/cr2_hel1000_plateprep_bg08-deflicker_v006-1034.jpgcr2_hel1000_platePrep_bg08-deflicker_v006.1034https://vfxblog.com/wp-content/uploads/2017/11/cr2_hel1000_comp_comp_v109_graded-1066.jpgcr2_hel1000_comp_comp_v109_graded.1066https://vfxblog.com/wp-content/uploads/2017/11/cr2_hks3660_comp_comp_v154-1027.jpgcr2_hks3660_comp_comp_v154.10272017-11-09T21:31:17+00:00monthlyhttps://vfxblog.com/2017/11/09/3d-artist-cover/https://vfxblog.com/wp-content/uploads/2017/11/blender.jpgblender2017-11-09T20:33:41+00:00monthlyhttps://vfxblog.com/2017/11/09/pixar-previews-their-real-time-graphics-talk-at-siggraph-asia/https://vfxblog.com/wp-content/uploads/2017/11/prestomcqueen.jpgPrestoMcQueen2017-11-09T10:36:39+00:00monthlyhttps://vfxblog.com/2017/11/08/a-visual-journey-through-the-screen-graphics-of-blade-runner-2049/https://vfxblog.com/wp-content/uploads/2017/11/tri01_joo_bsl_concept_v010_f02.jpgTRI01_JOO_bsl_concept_v010_f02One of our initial creative routes applied a UI that suggested levels of analysis, but Denis felt that it was too ‘designed’ for the LAPD technology, which needed to be more basic, functional and utilitarian. https://vfxblog.com/wp-content/uploads/2017/11/02_microfiche_moodboard_0003.jpg02_Microfiche_Moodboard_0003https://vfxblog.com/wp-content/uploads/2017/11/01_bioluminescence_moodboard_0002.jpg01_Bioluminescence_Moodboard_0002The screen graphics were all to be story specific – no fluff or noise on the sets, which meant that we could concentrate on supporting story beats. From those conversations and references we started a R&D phase, and gathered concepts and ideas about how technology that is not reliant on electricity or digital can look and behave. Words that Denis used to describe what he wanted included ‘abstract, organic, optical, physical’. We ended up with an extremely experimental approach – never tied to CG, the R&D process involved looking at alternative interface technologies, at optical and physical effects and layering of textures that suggested age, dilapidation and a different path. We looked at the microcapsule technology used in E-Ink displays and advancements in bioluminescence, to see how colour and what palettes can be achieved in the absence of LED screens. To achieve ‘physicality’ and organic textures, we brought in optical lenses, old school projections, microfiche, and rolodex cards and other stuff to the studio. Even fluids, fruit and meat products were dissected and photographed.https://vfxblog.com/wp-content/uploads/2017/11/tri_morgueconcept_v0001.jpgTRI_MorgueConcept_v0001Applying magnification, textures and optical effects to the concepts, we explored the best way to achieve that blend of organic abstraction that Denis loved. The challenge was to balance abstraction with enough detail to lend each image authenticity, and then devise a physical system that felt mechanical and sophisticated at the same time. https://vfxblog.com/wp-content/uploads/2017/11/tri_mor_dev_07_beat02_loop_1280x1024.jpgTRI_MOR_DEV_07_BEAT02_LOOP_1280x1024We delivered over 100 very original screens across 15 sets so consistently maintaining the quality and storybeats was a challenge. The experimental approach we took was incredibly stimulating and exciting but it did add to the pressures and challenges of working on such an amazing and highly anticipated project. We’re most proud of how much we pushed the look and feel of the technology in a different direction. https://vfxblog.com/wp-content/uploads/2017/11/territorystudio_tri_morgue_tag.jpgTerritoryStudio_TRI_Morgue_tagThe scene in the morgue where bone tissue is being analysed for identification is a key reveal scene in the film and a narrative turning point. Set up as a series of clues, Denis wanted a tightly choreographed scene in which Joshi, K and the forensic expert discuss the bone tissue, which is shown at various levels of magnification throughout the conversation. We got the story beats and were asked to create a series of images that show bone tissue under increasing magnification. Setting out to create an effect that suggested an electron microscope / scanning system, but with more physicality and drama, we used art department references of pelvic bone to explore a number of routes. https://vfxblog.com/wp-content/uploads/2017/11/territorystudio_tri_morgue_bone.jpgTerritoryStudio_TRI_Morgue_boneThe final route is optical and physical, and draws on the a similar colour treatment we used in the baseline scan. A complex sequence, each stage of the magnification seems to shunt across physically as optical lenses. We created the whole system, orchestrating the interaction as a kit of parts in which looping and holding states were triggered on set. It was an amazing moment to see it shot live on set. https://vfxblog.com/wp-content/uploads/2017/11/grapefruit.jpgGrapefruitWe needed to design a series of animations that show different aspects of brain activity and to avoid MRI references we aimed for a level of pure organic abstraction. We ideally wanted to achieve that without using brain tissue, so when we found a dried out grapefruit in the studio, we began to experiment with macrophotography and photogrammetry. We showed a series of different treatments to Denis and Paul and they loved the texture, so we explored that route further. https://vfxblog.com/wp-content/uploads/2017/11/grapefruit-macro3.jpgGrapefruit macro3https://vfxblog.com/wp-content/uploads/2017/11/grapefruit-macro2.jpgGrapefruit macro22017-11-08T23:19:29+00:00monthlyhttps://vfxblog.com/2017/11/07/in-every-age-there-is-a-cause-worth-fighting-for/https://vfxblog.com/wp-content/uploads/2017/11/tippett_starshiptroopers.jpgTippett_StarshipTroopers2017-11-08T01:00:58+00:00monthlyhttps://vfxblog.com/2017/11/07/the-new-bullet-time/https://vfxblog.com/wp-content/uploads/2017/11/satellitelab_05.jpgsatellitelab_052017-11-07T20:34:49+00:00monthlyhttps://vfxblog.com/2017/11/07/crafting-the-insane-action-behind-thor-ragnoraks-end-battle/https://vfxblog.com/wp-content/uploads/2017/11/trb1450_comp_v602-1057.jpgnullMarvel Studios' THOR: RAGNAROK..Hela (Cate Blanchett)..Ph: Film Frame..©Marvel Studios 2017https://vfxblog.com/wp-content/uploads/2017/11/trb1430_comp_v607-1008.jpgnullMarvel Studios' THOR: RAGNAROK..Fenris Wolf..Ph: Film Frame..©Marvel Studios 2017https://vfxblog.com/wp-content/uploads/2017/11/trb1420_comp_v422-1056.jpgnullMarvel Studios' THOR: RAGNAROK..Hulk (Mark Ruffalo)..Ph: Film Frame..©Marvel Studios 2017https://vfxblog.com/wp-content/uploads/2017/11/ccm0010_comp_v300-1073.jpgnullMarvel Studios' THOR: RAGNAROK..L to R: Hulk (Mark Ruffalo) and Surtur..Ph: Film Frame..©Marvel Studios 2017https://vfxblog.com/wp-content/uploads/2017/11/brb3580_trbcomp_v816-1087_rc.jpgnullMarvel Studios' THOR: RAGNAROK..L to R: Hulk (Mark Ruffalo), Thor (Chris Hemsworth), Valkyrie (Tessa Thompson) and Loki (Tom Hiddleston)..Ph: Film Frame..©Marvel Studios 2017https://vfxblog.com/wp-content/uploads/2017/11/brb2410_trbcomp_v528-1048.jpgnullMarvel Studios' THOR: RAGNAROK..Thor (Chris Hemsworth)..Ph: Film Frame..©Marvel Studios 2017https://vfxblog.com/wp-content/uploads/2017/11/brb2110_trbcomp_v669-1021.jpgnullMarvel Studios' THOR: RAGNAROK..Valkyrie (Tessa Thompson)..Ph: Film Frame..©Marvel Studios 2017https://vfxblog.com/wp-content/uploads/2017/11/brb2100_trbcomp_v658-1120.jpgnullMarvel Studios' THOR: RAGNAROK..Valkyrie (Tessa Thompson)..Ph: Film Frame..©Marvel Studios 2017https://vfxblog.com/wp-content/uploads/2017/11/brb2060_trbcomp_v397-1025.jpgnullMarvel Studios' THOR: RAGNAROK..Ph: Film Frame..©Marvel Studios 20172017-11-07T08:50:13+00:00monthlyhttps://vfxblog.com/2017/11/06/ian-spriggs-on-cg-portraits-and-designing-characters-for-neill-blomkamp/https://vfxblog.com/wp-content/uploads/2017/11/ian-spriggs-klum-print-03.jpgian-spriggs-klum-print-03Spriggs' Rakka model.https://vfxblog.com/wp-content/uploads/2017/11/ian-spriggs-firebase-uhd-0008.jpgian-spriggs-firebase-uhd-0008A character from the Oats Studios short, Firebase.https://vfxblog.com/wp-content/uploads/2017/11/ian-spriggs-spriggs-16.jpgian-spriggs-spriggs-16https://vfxblog.com/wp-content/uploads/2017/11/ian-spriggs-portrait-of-neill-blomkamp.jpgPortrait of Neill Blomkamphttps://vfxblog.com/wp-content/uploads/2017/11/ian-spriggs-portrait-of-neill-blomkamp-model.jpgPortrait of Neill BlomkampCG portrait of Neill Blomkamp by Ian Spriggs.https://vfxblog.com/wp-content/uploads/2017/11/ian-spriggs-themirror-texture.jpgian-spriggs-themirror-textureRecent work for the real-time 'Adam' shorts.https://vfxblog.com/wp-content/uploads/2017/11/ian-spriggs-selfportrait-ianspriggs.jpgSelf PortraitA self portrait by Ian Spriggs.https://vfxblog.com/wp-content/uploads/2017/11/ian-spriggs-zygote-spriggs-13.jpgian-spriggs-zygote-spriggs-13Zygote model.https://vfxblog.com/wp-content/uploads/2017/11/ian-spriggs-zygote-spriggs-20.jpgian-spriggs-zygote-spriggs-20https://vfxblog.com/wp-content/uploads/2017/11/ian-spriggs-zygote-zg2-uhd-0000-copy.jpgFusion TIFF FileFusion TIFF File2017-11-07T04:53:32+00:00monthlyhttps://vfxblog.com/2017/11/06/thor-vs-hulk/https://vfxblog.com/wp-content/uploads/2017/11/hulkvthor.jpgHulkvThor2017-11-06T19:58:54+00:00monthlyhttps://vfxblog.com/2017/11/01/reflecting-on-valerian-concept-artist-ben-mauro/https://vfxblog.com/wp-content/uploads/2017/11/pearlall_01s_bm_10001.jpgPEARLall_01s_BM_1000https://vfxblog.com/wp-content/uploads/2017/11/mule_02_bm-2b_54_10001.jpgMULE_02_BM-2b_54_1000https://vfxblog.com/wp-content/uploads/2017/11/bigmarket_wideshotedits_01_bm_10001.jpgBIGMARKET_wideshotedits_01_BM_1000https://vfxblog.com/wp-content/uploads/2017/11/khodarmeeting_01_bm_10001.jpgKHODARmeeting_01_BM_1000https://vfxblog.com/wp-content/uploads/2017/11/v_japhetsidealien_03full_bm_10001.jpgV_JAPHETsidealien_03full_BM_1000https://vfxblog.com/wp-content/uploads/2017/11/v_megaptor_chase_01d_bm_1000.jpgV_megaptor_chase_01d_BM_1000https://vfxblog.com/wp-content/uploads/2017/11/kortan_dahuk_benmauro_10001.jpgKORTAN_DAHUK_Benmauro_1000https://vfxblog.com/wp-content/uploads/2017/11/trash_shiprefinement_01_bm_10001.jpgTrash_shipREFINEMENT_01_BM_1000https://vfxblog.com/wp-content/uploads/2017/11/v_ktronnew_01_bm_10001.jpgV_KTRONnew_01_BM_1000https://vfxblog.com/wp-content/uploads/2017/11/v_multiship_single_01_bm_10001.jpgV_MULTISHIP_single_01_BM_10002017-11-01T10:36:11+00:00monthlyhttps://vfxblog.com/2017/10/27/vfxblog-readers-get-a-discount-to-siggraph-asia/https://vfxblog.com/wp-content/uploads/2017/10/coco-disney-pixar-teaser-trailer.jpgcoco-disney-pixar-teaser-trailerhttps://vfxblog.com/wp-content/uploads/2017/10/siggraphasia.jpgSiggraphAsia2017-11-01T10:03:21+00:00monthlyhttps://vfxblog.com/2017/10/25/what-happens-in-vegas/https://vfxblog.com/wp-content/uploads/2017/10/096_0070_wvg_v187_1327.jpg096_0070_wvg_v187_1327https://vfxblog.com/wp-content/uploads/2017/10/096_0160_wvg_v249_1396.jpg096_0160_wvg_v249_1396https://vfxblog.com/wp-content/uploads/2017/10/096_0070_wvg_v182_1166.jpg096_0070_wvg_v182_1166https://vfxblog.com/wp-content/uploads/2017/10/br-jn-057.jpgBR-JN-057https://vfxblog.com/wp-content/uploads/2017/10/br-jn-054.jpgBR-JN-054https://vfxblog.com/wp-content/uploads/2017/10/br-vfx-fs-1200.jpgBLADE RUNNER 2049https://vfxblog.com/wp-content/uploads/2017/10/br-vfx-fs-1176.jpgBLADE RUNNER 20492017-10-30T09:15:22+00:00monthlyhttps://vfxblog.com/2017/10/27/behind-the-scenes-with-anim-and-rigging-tool-akeytsu/https://vfxblog.com/wp-content/uploads/2017/10/nukeygara_main-1280x600.jpgNukeygara_main-1280x6002017-10-27T15:33:29+00:00monthlyhttps://vfxblog.com/2017/10/26/lets-move-to-la-in-2049/https://vfxblog.com/wp-content/uploads/2017/10/br-jn-028.jpgBR-JN-028https://vfxblog.com/wp-content/uploads/2017/10/br-vfx-dn-050.jpgBR-VFX-DN-050https://vfxblog.com/wp-content/uploads/2017/10/br-jn-027.jpgBR-JN-027https://vfxblog.com/wp-content/uploads/2017/10/br-vfx-dn-044.jpgBR-VFX-DN-044https://vfxblog.com/wp-content/uploads/2017/10/br-vfx-dn-043.jpgBR-VFX-DN-043https://vfxblog.com/wp-content/uploads/2017/10/br-vfx-dn-024.jpge_fto_132_0010_wireframe_v049_PR_v002.1001.tiffhttps://vfxblog.com/wp-content/uploads/2017/10/br-vfx-dn-023.jpge_fto_132_0010_comp_v049_PR_v002.1001.tiffhttps://vfxblog.com/wp-content/uploads/2017/10/22769904_10154685745207303_6650059040365795659_o.jpg22769904_10154685745207303_6650059040365795659_ohttps://vfxblog.com/wp-content/uploads/2017/10/22791992_10154685745507303_2425388203148982436_o.jpg22791992_10154685745507303_2425388203148982436_ohttps://vfxblog.com/wp-content/uploads/2017/10/22713423_10154685745572303_7920750941673869442_o.jpg22713423_10154685745572303_7920750941673869442_oImage via Weta Workshop's Facebook page. 2017-10-27T05:50:25+00:00monthlyhttps://vfxblog.com/2017/08/23/the-tech-of-terminator-2-an-oral-history/https://vfxblog.com/wp-content/uploads/2017/08/image1.jpgimage1From left: Steve 'Spaz' Williams, Stefen Fangmeier and Mark Dippe.https://vfxblog.com/wp-content/uploads/2017/08/filmscanner.jpgFilmScannerILM's film scanner, also known as the Kodak Scanner. Image via Jason Smith.https://vfxblog.com/wp-content/uploads/2017/08/death1.jpgDeath1https://vfxblog.com/wp-content/uploads/2017/08/death2.jpgDeath2https://vfxblog.com/wp-content/uploads/2017/08/death3.jpgDeath3https://vfxblog.com/wp-content/uploads/2017/08/death4.jpgDeath4https://vfxblog.com/wp-content/uploads/2017/08/death5.jpgDeath5https://vfxblog.com/wp-content/uploads/2017/08/floor1.jpgfloor1A human form develops as the T-1000 mimics the guard.https://vfxblog.com/wp-content/uploads/2017/08/stanwinston.jpgStanWinstonFilming a practical make-up effects scene at the home of Miles Dyson. ILM's CG work would ultimately work hand-in-hand with that of Stan Winston Studio. Image via Stan Winston School of Character Arts.https://vfxblog.com/wp-content/uploads/2017/08/doug.jpgDougVisual effects art director Doug Chiang, in addition to sketching many incarnations of the T-1000 at different stages, also performed digital manipulation fix-its to final shots. Image via ILM Facebook page.2017-10-26T13:26:11+00:00monthlyhttps://vfxblog.com/2017/10/24/more-joi-how-the-giant-blade-runner-2049-hologram-shot-was-pulled-off/https://vfxblog.com/wp-content/uploads/2017/10/br-vfx-dn-025v2.jpgBR-VFX-DN-025v2https://vfxblog.com/wp-content/uploads/2017/10/br-vfx-dn-055.jpgBR-VFX-DN-055https://vfxblog.com/wp-content/uploads/2017/10/br-vfx-dn-054.jpgBR-VFX-DN-0542017-10-24T19:23:56+00:00monthlyhttps://vfxblog.com/2017/10/24/special-effects-secrets/https://vfxblog.com/wp-content/uploads/2017/10/bloodboard.jpgBloodboard2017-10-24T12:07:12+00:00monthlyhttps://vfxblog.com/2017/10/23/how-blade-runner-2049s-virtual-menage-a-trois-was-made-2/2017-10-23T22:27:06+00:00monthlyhttps://vfxblog.com/2017/06/20/how-that-incredible-animated-mural-in-wonder-woman-was-made/https://vfxblog.com/wp-content/uploads/2017/06/13_asc_ww_historypainting_panel08themyscira_v233.jpgWONDER WOMAN2017-10-23T15:14:04+00:00monthlyhttps://vfxblog.com/2017/10/13/kill-mouths-and-fridge-monsters/https://vfxblog.com/wp-content/uploads/2017/10/rodeofx_it_001_final_wm_cc.jpgRodeoFX_IT_001_final_wm_cc2017-10-13T22:11:39+00:00monthlyhttps://vfxblog.com/2017/10/10/view-preview-guardian-vol-2-vfx-supe-christopher-townsend-talks-shot-iterations/https://vfxblog.com/wp-content/uploads/2017/10/christownsend.jpgChrisTownsend2017-10-11T07:04:23+00:00monthlyhttps://vfxblog.com/2017/10/04/new-vfx-voice-is-out/https://vfxblog.com/wp-content/uploads/2017/10/dltoyjivyaaft1r.jpgDLTOYjiVYAAft1r2017-10-04T22:11:50+00:00monthlyhttps://vfxblog.com/2017/10/04/heres-what-one-animator-can-do-in-unreal/https://vfxblog.com/wp-content/uploads/2017/10/unreal_screenshot_a.jpgUnreal_screenshot_A2017-10-04T21:06:03+00:00monthlyhttps://vfxblog.com/2017/10/03/a-new-preview-of-view-women-in-vfx-and-animation/https://vfxblog.com/wp-content/uploads/2017/10/view_women_main-1280x600.jpgView_women_main-1280x6002017-10-04T05:30:15+00:00monthlyhttps://vfxblog.com/2017/09/29/beautybots-and-robot-dogs-just-another-day-in-the-life-of-sony-pictures-imageworks/https://vfxblog.com/wp-content/uploads/2017/09/poppyland2.jpgKINGSMAN: THE GOLDEN CIRCLEPoppyland in Twentieth Century Fox's "Kingsman: The Golden Circle," starring Colin Firth, Taron Egerton, Julianne Moore, Channing Tatum, Mark Strong, Elton John, Halle Berry and Jeff Bridges.https://vfxblog.com/wp-content/uploads/2017/09/km2_spi_tdp1200_comp_v1123.jpgkm2_spi_tdp1200_comp_v112https://vfxblog.com/wp-content/uploads/2017/09/km2_spi_kad1450_comp_v503.jpgkm2_spi_kad1450_comp_v50https://vfxblog.com/wp-content/uploads/2017/09/km2_spi_kad1450_comp_v50_11712.jpgkm2_spi_kad1450_comp_v50_1171https://vfxblog.com/wp-content/uploads/2017/09/km2_spi_kad1450_comp_v50_10772.jpgkm2_spi_kad1450_comp_v50_1077https://vfxblog.com/wp-content/uploads/2017/09/km2_spi_amp1301_comp_v502.jpgkm2_spi_amp1301_comp_v502017-09-30T00:40:44+00:00monthlyhttps://vfxblog.com/2017/09/29/learn-the-vfx-secrets-of-mother-with-visual-effects-supervisor-dan-schrecker/https://vfxblog.com/wp-content/uploads/2017/09/mother6.jpegmother6https://vfxblog.com/wp-content/uploads/2017/09/mother4.jpgmother4https://vfxblog.com/wp-content/uploads/2017/09/mother3.jpgmother3https://vfxblog.com/wp-content/uploads/2017/09/mother2.jpgmother2https://vfxblog.com/wp-content/uploads/2017/09/mother1.jpgmother12017-09-29T21:39:16+00:00monthlyhttps://vfxblog.com/2017/09/14/view-conference-preview-making-a-digital-hugh-jackman/https://vfxblog.com/wp-content/uploads/2017/09/2014_martyn-culpitt1.jpg2014_Martyn Culpitthttps://vfxblog.com/wp-content/uploads/2017/09/2014_martyn-culpitt.jpg2014_Martyn Culpitthttps://vfxblog.com/wp-content/uploads/2017/09/pe_0720_v093_1021p-1.jpgPE_0720_v093_1021phttps://vfxblog.com/wp-content/uploads/2017/09/pe_0720_v093_1021p.jpgPE_0720_v093_1021phttps://vfxblog.com/wp-content/uploads/2017/09/pe_0720_v093_1021f.jpgPE_0720_v093_1021fhttps://vfxblog.com/wp-content/uploads/2017/09/pe_0720_v093_1021f-1.jpgPE_0720_v093_1021fhttps://vfxblog.com/wp-content/uploads/2017/09/build_logan_lookdev_v283_00281.jpgbuild_logan_lookDev_v283_0028https://vfxblog.com/wp-content/uploads/2017/09/build_logan_lookdev_v283_0028.jpgbuild_logan_lookDev_v283_0028https://vfxblog.com/wp-content/uploads/2017/09/build_laura_lookdev_v230_0001.jpgbuild_laura_lookDev_v230_0001https://vfxblog.com/wp-content/uploads/2017/09/build_laura_lookdev_v230_0001-1.jpgbuild_laura_lookDev_v230_0001As well as facial scans of the actors, Image Engine also had photogrammetry shoots done to acquire body and clothing data for building the synthetic actors.2017-09-29T20:12:48+00:00monthlyhttps://vfxblog.com/2017/09/26/that-cable-car-scene-in-the-golden-circle/https://vfxblog.com/wp-content/uploads/2017/09/scc_1580_v000129_2880x2160_sph_finalcomp_1030.jpgScc_1580_v000129_2880x2160_sph_FinalComp_10302017-09-27T06:36:17+00:00monthlyhttps://vfxblog.com/2017/09/26/the-super-small-miniatures-of-blade-runner/https://vfxblog.com/wp-content/uploads/2017/09/br-ms-tyrellbldg-0065.jpgBR-MS-TyrellBldg-00652017-09-26T23:30:44+00:00monthlyhttps://vfxblog.com/2017/09/25/that-gives-you-goosebumps-the-vfx-perspective-on-thu-with-rise-fxs-florian-gellinger/https://vfxblog.com/wp-content/uploads/2017/09/unnamed.jpgunnamedhttps://vfxblog.com/wp-content/uploads/2017/09/unnamed-6.jpgunnamed-6https://vfxblog.com/wp-content/uploads/2017/09/unnamed-5.jpgunnamed-5https://vfxblog.com/wp-content/uploads/2017/09/unnamed-4.jpgunnamed-4THU attendees gather for a family photo. Image courtesy Trojan Horse was a Unicorn.https://vfxblog.com/wp-content/uploads/2017/09/unnamed-3.jpgunnamed-3https://vfxblog.com/wp-content/uploads/2017/09/unnamed-3_1.jpgunnamed-3_1https://vfxblog.com/wp-content/uploads/2017/09/unnamed-2.jpgunnamed-2THU 2017. Image courtesy Trojan Horse was a Unicorn.https://vfxblog.com/wp-content/uploads/2017/09/florian.jpgFlorian Gellinger from Rise FX.https://vfxblog.com/wp-content/uploads/2017/09/unnamed-2_2.jpgunnamed-2_2https://vfxblog.com/wp-content/uploads/2017/09/unnamed-2_1.jpgunnamed-2_12017-09-25T21:57:46+00:00monthlyhttps://vfxblog.com/2017/09/24/when-you-get-to-go-to-the-beach-for-work/https://vfxblog.com/wp-content/uploads/2017/09/bondi_beachtest01.jpgbondi_beachtest012017-09-24T07:07:47+00:00monthlyhttps://vfxblog.com/2017/09/23/star-trek-vfx-dan-curry/https://vfxblog.com/wp-content/uploads/2017/09/dan-with-voyager-model.jpgDan with Voyager Modelhttps://vfxblog.com/wp-content/uploads/2017/09/junior.jpgJuniorDan Curry poses with the mold of the space creature.https://vfxblog.com/wp-content/uploads/2017/09/mold.jpgMoldThe creature attaches itself to the ship.https://vfxblog.com/wp-content/uploads/2017/09/crystallineentity.jpgCrystallineEntityThe Crystalline Entity, as seen in the re-mastered Blu-ray release as a new CGI model.https://vfxblog.com/wp-content/uploads/2017/09/tng-scanhq0326.jpgtng-scanhq0326Four-footer Enterprise model. Image courtesy Eric Alba.https://vfxblog.com/wp-content/uploads/2017/09/tng-scanhq0263.jpgtng-scanhq0263Another view of the red screen and UV light setup.https://vfxblog.com/wp-content/uploads/2017/09/tng-25.jpgAutosave-File vom d-lab2/3 der AgfaPhoto GmbHDan Curry inspecting a set piece. Photo courtesy Eric Alba. https://vfxblog.com/wp-content/uploads/2017/09/scanhq0294.jpgscanhq0294The red screen in use. Image courtesy Eric Alba.https://vfxblog.com/wp-content/uploads/2017/09/scanhq0283.jpgscanhq0283https://vfxblog.com/wp-content/uploads/2017/09/scanhq0280.jpgscanhq02802017-09-23T10:34:41+00:00monthlyhttps://vfxblog.com/2017/09/22/looking-back-at-old-school-trek-tv/https://vfxblog.com/wp-content/uploads/2017/09/dancurry_aliens.jpgDanCurry_aliensDan Curry directs aliens on set.2017-09-22T18:03:01+00:00monthlyhttps://vfxblog.com/2017/09/21/isle_of_dogs/2017-09-21T16:10:34+00:00monthlyhttps://vfxblog.com/2017/09/20/live-from-thu/2017-09-20T15:30:40+00:00monthlyhttps://vfxblog.com/2017/09/15/heres-a-way-to-be-part-of-trojan-horse-even-if-youre-not-in-portugal/https://vfxblog.com/wp-content/uploads/2017/09/screen-shot-2017-09-16-at-1-59-04-pm.jpgScreen Shot 2017-09-16 at 1.59.04 PMhttps://vfxblog.com/wp-content/uploads/2017/09/screen-shot-2017-09-16-at-2-00-06-pm.jpgScreen Shot 2017-09-16 at 2.00.06 PMhttps://vfxblog.com/wp-content/uploads/2017/09/screen-shot-2017-09-16-at-1-59-50-pm.jpgScreen Shot 2017-09-16 at 1.59.50 PMhttps://vfxblog.com/wp-content/uploads/2017/09/screen-shot-2017-09-16-at-1-59-20-pm.jpgScreen Shot 2017-09-16 at 1.59.20 PM2017-09-16T04:19:28+00:00monthlyhttps://vfxblog.com/2017/09/12/so-about-those-iphone-animojis/https://vfxblog.com/wp-content/uploads/2017/09/animojis.gifanimojishttps://vfxblog.com/wp-content/uploads/2017/09/3q3a0650.jpg3q3a0650https://vfxblog.com/wp-content/uploads/2017/09/3q3a0650-1.jpg3q3a06502017-09-13T05:13:44+00:00monthlyhttps://vfxblog.com/2017/09/12/zafari-a-preview/https://vfxblog.com/wp-content/uploads/2017/09/zafari1_main-1280x600.jpgZafari1_main-1280x6002017-09-13T02:51:12+00:00monthlyhttps://vfxblog.com/2017/09/12/a-hot-tip-for-view-get-there-a-day-early-for-the-workshops-and-masterclasses/https://vfxblog.com/wp-content/uploads/2017/09/dsc02349.jpgDSC02349https://vfxblog.com/wp-content/uploads/2017/09/eloi-vr-masterclass_feature.jpgeloi-vr-masterclass_featurehttps://vfxblog.com/wp-content/uploads/2017/09/leslieiwerks.jpgLeslieIwerkshttps://vfxblog.com/wp-content/uploads/2017/09/an1-274066.jpgnullRogue One: A Star Wars Story..Governor Tarkin (Guy Henry)..Photo credit: Film Frame Lucasfilm/ILM..©2016 Lucasfilm Ltd. All Rights Reserved.2017-09-12T10:27:55+00:00monthlyhttps://vfxblog.com/2017/09/10/behind-the-scenes-of-the-miniature-effects-in-the-orville/https://vfxblog.com/wp-content/uploads/2017/09/orville.jpgOrvillehttps://vfxblog.com/wp-content/uploads/2017/09/orville1.jpgOrville2017-09-10T07:03:42+00:00monthlyhttps://vfxblog.com/2017/09/08/son-of-jaguar-is-a-vr-short-i-really-enjoyed/https://vfxblog.com/wp-content/uploads/2017/09/sonofjaguar_jorge_main-1280x600.jpgSonofJaguar_Jorge_main-1280x6002017-09-09T02:07:14+00:00monthlyhttps://vfxblog.com/about/https://vfxblog.com/wp-content/uploads/2016/01/img_0829.jpgIMG_0829https://vfxblog.com/wp-content/uploads/2016/01/img_8532.jpgIMG_8532https://vfxblog.com/wp-content/uploads/2016/01/ianfailes_profile_photo_by_riccardo_bucchino.jpgIanFailes_Profile_Photo_by_Riccardo_Bucchino2017-09-07T08:47:35+00:00weekly0.6https://vfxblog.com/2017/09/07/the-rise-of-cg-in-horror-films/https://vfxblog.com/wp-content/uploads/2017/09/syfy.jpgSyfy2017-09-07T08:43:08+00:00monthlyhttps://vfxblog.com/2017/09/06/now-writing-for-syfy/https://vfxblog.com/wp-content/uploads/2017/09/thefly.jpgTheFly2017-09-06T14:24:55+00:00monthlyhttps://vfxblog.com/2017/09/05/gemini-man-the-early-test/https://vfxblog.com/wp-content/uploads/2017/09/finalframe.jpgFinalframe2017-09-06T05:52:18+00:00monthlyhttps://vfxblog.com/2017/08/30/new-dragons-new-fire/https://vfxblog.com/wp-content/uploads/2017/08/nightking.jpgNightKing2017-08-31T06:17:06+00:00monthlyhttps://vfxblog.com/2017/08/29/how-real-time-and-vfx-are-meeting-up-in-fact-theyve-already-met/https://vfxblog.com/wp-content/uploads/2017/08/composure2.jpgComposure22017-08-30T05:24:52+00:00monthlyhttps://vfxblog.com/2017/08/29/quickshots-small-details-game-of-thrones-dragon/https://vfxblog.com/wp-content/uploads/2017/08/drone.jpgdroneThe continued approach as Daenerys nears the battle.https://vfxblog.com/wp-content/uploads/2017/08/drone2.jpgdrone2Shooting with a camera drone.https://vfxblog.com/wp-content/uploads/2017/08/tree.giftreehttps://vfxblog.com/wp-content/uploads/2017/08/wing11.jpgwing1https://vfxblog.com/wp-content/uploads/2017/08/wing1.jpgwing1https://vfxblog.com/wp-content/uploads/2017/08/giphy3.gifgiphyhttps://vfxblog.com/wp-content/uploads/2017/08/giphy2.gifgiphy2017-08-29T11:51:09+00:00monthlyhttps://vfxblog.com/2017/08/28/quickshots-close-encounters/https://vfxblog.com/wp-content/uploads/2017/08/closeencounters.jpgCloseEncountershttps://vfxblog.com/wp-content/uploads/2017/08/clouds_mg_8888.jpgclouds_MG_8888https://vfxblog.com/wp-content/uploads/2017/08/mothership-slate_mg_8884.jpgmothership slate_MG_88842017-08-29T05:35:55+00:00monthlyhttps://vfxblog.com/2017/08/24/the-amazing-amount-of-roto-that-went-into-converting-t2/https://vfxblog.com/wp-content/uploads/2017/08/t2_03.jpgt2_032017-08-25T04:04:21+00:00monthlyhttps://vfxblog.com/2017/08/22/horse-riding-now-a-thing-in-massive/https://vfxblog.com/wp-content/uploads/2017/08/horse-rider-agent.jpgHorse & Rider Agent2017-08-22T22:46:55+00:00monthlyhttps://vfxblog.com/2017/08/21/body-labs-might-be-a-way-to-change-animation/https://vfxblog.com/wp-content/uploads/2017/08/soma2.jpgSOMA22017-08-21T23:15:05+00:00monthlyhttps://vfxblog.com/2017/08/17/the-last-minute-roto-tool-that-saved-the-ending-of-death-becomes-her/https://vfxblog.com/wp-content/uploads/2017/08/retro.jpgretroFind more retro vfx stories here at vfxblog.https://vfxblog.com/wp-content/uploads/2017/08/dbh_ending.jpgdbh_ending2017-08-17T23:29:50+00:00monthlyhttps://vfxblog.com/2017/08/16/from-storyboard-to-final-in-gotg-vol-2/2017-08-16T22:05:14+00:00monthlyhttps://vfxblog.com/2017/08/15/event-horizon-vfx-20th-anniversary/https://vfxblog.com/wp-content/uploads/2017/08/explode.jpgExplodehttps://vfxblog.com/wp-content/uploads/2017/08/lewisclark.jpglewisclarkhttps://vfxblog.com/wp-content/uploads/2017/08/lewisclark2.jpglewisclark2https://vfxblog.com/wp-content/uploads/2017/08/lewisclark3.jpglewisclark3The Lewis and Clark model inside the museum.https://vfxblog.com/wp-content/uploads/2017/08/eyes.jpgEyeshttps://vfxblog.com/wp-content/uploads/2017/08/eyes2.jpgEyes2https://vfxblog.com/wp-content/uploads/2017/08/event_horizon_v1.jpgEVENT_HORIZON_V1Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/08/portrait-sue_rowe.jpgportrait.sue_roweSue Rowe.https://vfxblog.com/wp-content/uploads/2017/08/lewisandclarkmodel.jpgLewisandClarkmodelOne of the Lewis and Clark models built for the film is on display at Musée Miniature et Cinéma in Lyon. Here it is hoisted into place from outside the museum.https://vfxblog.com/wp-content/uploads/2017/08/s-l1600.jpgs-l16002017-08-15T12:22:50+00:00monthlyhttps://vfxblog.com/2017/08/12/7-highlights-from-siggraph/https://vfxblog.com/wp-content/uploads/2017/08/neurable-1500.jpgneurable-15002017-08-12T23:05:13+00:00monthlyhttps://vfxblog.com/2017/08/09/heres-one-of-the-best-interviews-ive-heard-christopher-nolan-give-about-his-thoughts-on-film-digital-and-vfx/https://vfxblog.com/wp-content/uploads/2017/08/the-making-of-dunkirk-3.jpgthe-making-of-dunkirk-3https://vfxblog.com/wp-content/uploads/2017/08/the-making-of-dunkirk-2.jpgthe-making-of-dunkirk-2Spread from The Making of Dunkirk, by James Mottram.https://vfxblog.com/wp-content/uploads/2017/08/bb-t2-0044.jpgBB-T2-0044https://vfxblog.com/wp-content/uploads/2017/08/bb-06016.jpgBodega Bayhttps://vfxblog.com/wp-content/uploads/2017/08/bb-00015msg.jpgBodega Bay2017-08-10T05:59:43+00:00monthlyhttps://vfxblog.com/2017/08/09/my-siggraph-round-up/https://vfxblog.com/wp-content/uploads/2017/08/humanrace.jpgHumanRace2017-08-09T21:05:36+00:00monthlyhttps://vfxblog.com/2017/08/02/weta-digitals-valerian-peals/https://vfxblog.com/wp-content/uploads/2017/08/romeo_shots_dom_0100_v557-1k-1098.jpgromeo_shots_dom_0100_v557.1k.10982017-08-08T21:41:40+00:00monthlyhttps://vfxblog.com/2017/08/04/quickshots-attack-of-the-megaptor/https://vfxblog.com/wp-content/uploads/2017/08/valerian_sg_ilm_0452.jpgValerian_SG_ILM_0452VALERIAN AND THE CITY OF A THOUSAND PLANETS Courtesy of STXfilms and EuropaCorphttps://vfxblog.com/wp-content/uploads/2017/08/valerian_sg_ilm_0451.jpgValerian_SG_ILM_0451VALERIAN AND THE CITY OF A THOUSAND PLANETS Courtesy of STXfilms and EuropaCorphttps://vfxblog.com/wp-content/uploads/2017/08/valerian_sg_ilm_0450.jpgValerian_SG_ILM_0450VALERIAN AND THE CITY OF A THOUSAND PLANETS Courtesy of STXfilms and EuropaCorphttps://vfxblog.com/wp-content/uploads/2017/08/valerian_sg_ilm_0330.jpgValerian_SG_ILM_0330VALERIAN AND THE CITY OF A THOUSAND PLANETS Courtesy of STXfilms and EuropaCorphttps://vfxblog.com/wp-content/uploads/2017/08/valerian_sg_ilm_0329.jpgValerian_SG_ILM_0329VALERIAN AND THE CITY OF A THOUSAND PLANETS Courtesy of STXfilms and EuropaCorphttps://vfxblog.com/wp-content/uploads/2017/08/valerian_sg_ilm_0328.jpgValerian_SG_ILM_0328VALERIAN AND THE CITY OF A THOUSAND PLANETS Courtesy of STXfilms and EuropaCorp2017-08-05T02:48:40+00:00monthlyhttps://vfxblog.com/2017/08/04/how-that-atm-scene-in-homecoming-was-made/https://vfxblog.com/wp-content/uploads/2017/08/atm2050-1085.jpgSPIDER-MAN™: HOMECOMING2017-08-04T23:50:31+00:00monthlyhttps://vfxblog.com/2017/08/02/breaking-down-the-ferry-scene-in-homecoming/https://vfxblog.com/wp-content/uploads/2017/08/spidermanhomecoming_main-1280x600.jpgSpiderManHomecoming_main-1280x6002017-08-02T14:50:39+00:00monthlyhttps://vfxblog.com/2017/08/01/quickshots-making-valerians-doghan-daguis-talk-together-as-one/https://vfxblog.com/wp-content/uploads/2017/07/romeo_shots_kid_0220_v91-1039.jpgromeo_shots_kid_0220_v91.1039https://vfxblog.com/wp-content/uploads/2017/07/romeo_shots_kid_0220_v74-1k-1039.jpgromeo_shots_kid_0220_v74.1k.1039https://vfxblog.com/wp-content/uploads/2017/07/romeo_shots_kid_0220_v11-1039.jpgromeo_shots_kid_0220_v11.1039https://vfxblog.com/wp-content/uploads/2017/07/romeo_shots_kid_0220_1039_clientgrade.jpgromeo_shots_kid_0220_1039_ClientGradeThe "Doghan Daguis" in VALERIAN AND THE CITY OF A THOUSAND PLANETS Photo Courtesy of STXfilms and EuropaCorphttps://vfxblog.com/wp-content/uploads/2017/07/romeo_shots_jel_0714_v75-1098.jpgromeo_shots_jel_0714_v75.1098https://vfxblog.com/wp-content/uploads/2017/07/romeo_shots_jel_0714_v36-1098.jpgromeo_shots_jel_0714_v36.1098https://vfxblog.com/wp-content/uploads/2017/07/romeo_shots_jel_0714_v7-1098.jpgromeo_shots_jel_0714_v7.1098https://vfxblog.com/wp-content/uploads/2017/07/romeo_shots_jel_0714_1098_clientgrade.jpgromeo_shots_jel_0714_1098_ClientGradeVALERIAN AND THE CITY OF A THOUSAND PLANETS Courtesy of STXfilms and EuropaCorp2017-08-01T14:59:19+00:00monthlyhttps://vfxblog.com/2017/07/30/death-becomes-her-ken-ralston-20th/https://vfxblog.com/wp-content/uploads/2018/01/buf.jpgbufhttps://vfxblog.com/wp-content/uploads/2017/07/death_becomes_her_v11.jpgDeath_Becomes_Her_V1Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/07/death_becomes_her_v11.jpgDeath_Becomes_Her_V1https://vfxblog.com/wp-content/uploads/2017/07/dbh4.jpgDBH4https://vfxblog.com/wp-content/uploads/2017/07/dbh3.jpgDBH3To produce the shot of Meryl Streep's character appearing to have her head twisted backwards, three live-action background plates were filmed. The first was with Meryl wearing a stretchy blue hood over her head and walking backwards. The second plate was a clean plate, and the third involved Meryl performing in a blue bodysuit against a bluescreen. The blue hood was digitally removed from the first plate and replaced with the corresponding area from the clean plate using black- and-white mattes created using Parallax’s Matador Paint system. Meryl's head from the third plate was extracted from the bluescreen and match-moved into position. Finally, a computer-generated twisted neck piece was modelled, animated and matchmoved to fit between Meryl’s body and extracted head using a combination of Softimage 3D animation software and custom ILM software. It was rendered in RenderMan and then composited together. Additional paint work was also required. https://vfxblog.com/wp-content/uploads/2017/07/dbh2.jpgDBH2https://vfxblog.com/wp-content/uploads/2017/07/dbh1.jpgDBH1https://vfxblog.com/wp-content/uploads/2017/07/dbha.jpgDBHahttps://vfxblog.com/wp-content/uploads/2017/07/dbhb.jpgDBHbhttps://vfxblog.com/wp-content/uploads/2017/07/death_becomes_her_bg-02.jpgdeath_becomes_her_bg.022017-07-31T03:05:28+00:00monthlyhttps://vfxblog.com/2017/07/28/siggraphs-real-time-live-a-preview/https://vfxblog.com/wp-content/uploads/2017/07/realtimelive_main-1280x600.jpgrealtimelive_main-1280x6002017-07-28T16:31:02+00:00monthlyhttps://vfxblog.com/2017/07/27/were-making-a-movie-about-emojis-so-how-do-you-animate-those-things/https://vfxblog.com/wp-content/uploads/2017/07/emj_wrk230-1195_lm_v11.jpgEMJ_wrk230.1195_lm_v1Hi-5 (James Corden), Gene (T.J.Miller) and Devil (Sean Hayes) with other emojis in Columbia Pictures and Sony Pictures Animation's THE EMOJI MOVIE.2017-07-27T19:33:21+00:00monthlyhttps://vfxblog.com/2017/07/12/how-one-of-the-coolest-shots-in-baby-driver-was-pulled-off/https://vfxblog.com/wp-content/uploads/2017/07/baby.gifBaby2017-07-27T19:09:34+00:00monthlyhttps://vfxblog.com/2017/07/27/quickshot-valerians-multi-world-oner/https://vfxblog.com/wp-content/uploads/2017/07/valerian_bts_pic05.jpgValerian_BTS_Pic#05VALERIAN AND THE CITY OF A THOUSAND PLANETS Photo Courtesy of STXfilms and EuropaCorphttps://vfxblog.com/wp-content/uploads/2017/07/valerian.gifValerian2017-07-27T19:09:03+00:00monthlyhttps://vfxblog.com/2017/07/26/designing-baby-groot/2017-07-26T23:34:44+00:00monthlyhttps://vfxblog.com/2017/07/26/seven-years-of-dragons/https://vfxblog.com/wp-content/uploads/2017/07/got2-006-0.jpggot2-006-02017-07-26T17:47:16+00:00monthlyhttps://vfxblog.com/retro-vfx/2017-07-26T16:23:09+00:00weekly0.6https://vfxblog.com/2017/07/25/air-force-one-richard-edlund-vfx-20th-anniversary/https://vfxblog.com/wp-content/uploads/2017/07/air-force-one_v1.jpgAIR FORCE ONE_V1https://vfxblog.com/wp-content/uploads/2017/07/air-force-one_v1.jpgAIR FORCE ONE_V1Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/07/20370924_10154806784368030_163178391_n.jpg20370924_10154806784368030_163178391_nMiniature aircraft under construction at Boss Film Studios. Photo credit: Bruce Macrae.https://vfxblog.com/wp-content/uploads/2017/07/20248489_10154806719788030_1063316967174022859_o.jpg20248489_10154806719788030_1063316967174022859_oBoss Film Studios modelers work on the Air Force One miniature. Photo credit: Greg Jein.https://vfxblog.com/wp-content/uploads/2017/07/airforceone.jpgairforceonehttps://vfxblog.com/wp-content/uploads/2017/07/f15-0003.jpgF15.0003F15 model by Boss Film. Image courtesy Johnathan Banta.https://vfxblog.com/wp-content/uploads/2017/07/f15-0003.jpgF15.0003https://vfxblog.com/wp-content/uploads/2017/07/richard-edlund-8b.jpgNA001072Richard Edlund.https://vfxblog.com/wp-content/uploads/2017/07/nettmann.jpgnettmannThis image from Nettmann's website shows the way the aerial backgrounds would have been captured.https://vfxblog.com/wp-content/uploads/2017/07/747still_8bit-0002.jpg747still_8BIT.0002Air Force One digital model. Image courtesy Johnathan Banta.2017-07-26T00:45:20+00:00monthlyhttps://vfxblog.com/2017/07/24/planning-out-valerian-used-some-lower-tech-methods/https://vfxblog.com/wp-content/uploads/2017/07/valerian1_main-1280x600.jpgValerian1_main-1280x6002017-07-24T19:37:45+00:00monthlyhttps://vfxblog.com/2017/07/20/behind-the-boldness-of-bad-ape/https://vfxblog.com/wp-content/uploads/2017/07/badape.jpgBadApeSteve Zahn as Bad Ape in Twentieth Century Fox's "War for the Planet of the Apes."2017-07-20T23:19:25+00:00monthlyhttps://vfxblog.com/2017/07/19/the-social-vfx-lives-of-hollywood/https://vfxblog.com/wp-content/uploads/2017/07/mocap_v3-1.jpgMOCAP_V3Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/07/vfxsocial.jpgvfxsocialhttps://vfxblog.com/wp-content/uploads/2017/07/vfxsocial-1.jpgvfxsocial2017-07-19T20:47:05+00:00monthlyhttps://vfxblog.com/2017/07/18/from-capture-to-creature-weta-digital/https://vfxblog.com/wp-content/uploads/2017/07/hft_shots_tri_0230_2-1044.jpghft_shots_tri_0230_2.10442017-07-19T00:42:31+00:00monthlyhttps://vfxblog.com/2017/07/17/robocop-30th-anniversary-stop-motion/https://vfxblog.com/wp-content/uploads/2017/07/robocop_v21-1.jpgROBOCOP_V2Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/06/sc00009c3302.jpgsc00009c3302Dutra animating ED-209's uncertainty at the top of the staircase. ED-209 was not programmed for such an action, and is unsure of the consequences.https://vfxblog.com/wp-content/uploads/2017/06/sc000590d808.jpgsc000590d808Dutra adjusting the joints on ED-209 prior to animating.https://vfxblog.com/wp-content/uploads/2017/06/sc0007706a02.jpgsc0007706a02Dutra putting the finishing touches on a small-scale Robocop model he sculpted, cast, and painted for the shot of Robocop using ED-209's arms/guns against itself.https://vfxblog.com/wp-content/uploads/2017/06/sc000590d806.jpgsc000590d806Randal M. Dutra animating ED-209 in mid-stride. Note the surface gauge employed: It is the stop-motion animator's lifeline.https://vfxblog.com/wp-content/uploads/2017/06/sc000590d807.jpgsc000590d807Dutra animating ED-209. The "broken" or "Z" leg design lent itself to interesting actions.2017-07-18T05:34:12+00:00monthlyhttps://vfxblog.com/2017/07/15/plane-crazy/https://vfxblog.com/wp-content/uploads/2017/07/plb1660_marketing_still_v58_8k43s_vd16-1017.jpgplb1660_marketing_still_v58_8k43s_vd16.10172017-07-15T22:18:39+00:00monthlyhttps://vfxblog.com/2017/07/13/scott-farrar-on-the-legacy-of-transformers/https://vfxblog.com/wp-content/uploads/2017/07/tf5-ff-033-cc.jpgnullCogman in TRANSFORMERS: THE LAST KNIGHT, from Paramount Pictures.2017-07-13T20:11:23+00:00monthlyhttps://vfxblog.com/2017/07/12/visiting-weta-digital/https://vfxblog.com/wp-content/uploads/2017/07/screen-shot-2017-07-13-at-9-14-35-am.jpgScreen Shot 2017-07-13 at 9.14.35 AM2017-07-12T23:15:22+00:00monthlyhttps://vfxblog.com/2017/07/11/how-the-beach-scene-in-contact-went-down-to-the-wire/https://vfxblog.com/wp-content/uploads/2017/07/beach.jpgbeach2017-07-11T19:46:33+00:00monthlyhttps://vfxblog.com/2017/07/11/behind-the-scenes-of-okja/https://vfxblog.com/wp-content/uploads/2017/07/okja-ff2-005.jpgOKJA-FF2-0052017-07-11T19:41:14+00:00monthlyhttps://vfxblog.com/2017/07/10/the-famous-mirror-shot-in-contact-was-almost-something-else-entirely/https://vfxblog.com/wp-content/uploads/2017/07/contact_mirror_v3.jpgCONTACT_MIRROR_V3Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/07/contact-machine.jpgContact-machinehttps://vfxblog.com/wp-content/uploads/2017/07/contact.jpgContactVFX Supervisor Ken Ralston and Imageworks Executive Producer Debbie Denise on the set of Contact in 1996.https://vfxblog.com/wp-content/uploads/2017/07/contact_mirror2.jpgcontact_mirror2https://vfxblog.com/wp-content/uploads/2017/07/contact_mirror1.jpgcontact_mirror1https://vfxblog.com/wp-content/uploads/2017/07/vega1.jpgVega1https://vfxblog.com/wp-content/uploads/2017/07/machine2.jpgMachine2https://vfxblog.com/wp-content/uploads/2017/07/machine1.jpgMachine1https://vfxblog.com/wp-content/uploads/2017/07/mirror1.jpgMirror12017-07-10T19:11:01+00:00monthlyhttps://vfxblog.com/2017/07/10/get-ready-for-more-game-of-thrones/https://vfxblog.com/wp-content/uploads/2017/07/cover.jpgCover2017-07-10T18:01:37+00:00monthlyhttps://vfxblog.com/2017/06/28/mpc-on-its-digital-make-up-advancements-in-the-mummy/https://vfxblog.com/wp-content/uploads/2017/06/2474_e_164_nne_7070_still_v5_1002.jpg2474_E_164_NNE_7070_STILL_V5_1002https://vfxblog.com/wp-content/uploads/2017/06/2474_e_164_nne_7070_still_v5_1001.jpg2474_E_164_NNE_7070_STILL_V5_1001https://vfxblog.com/wp-content/uploads/2017/06/2474_e_113_wod_2100_still_v2_1002.jpg2474_E_113_WOD_2100_STILL_V2_1002https://vfxblog.com/wp-content/uploads/2017/06/2474_e_113_wod_2100_still_v2_1001.jpg2474_E_113_WOD_2100_STILL_V2_1001https://vfxblog.com/wp-content/uploads/2017/06/2474_e_104_pcc_9021_still_v5_1002.jpg2474_E_104_PCC_9021_STILL_V5_1002https://vfxblog.com/wp-content/uploads/2017/06/2474_e_104_pcc_9021_still_v5_1001.jpg2474_E_104_PCC_9021_STILL_V5_1001https://vfxblog.com/wp-content/uploads/2017/06/2474_e_090_cap_1500_still_v4_1002.jpg2474_E_090_CAP_1500_STILL_V4_1002https://vfxblog.com/wp-content/uploads/2017/06/2474_e_090_cap_1500_still_v4_1001.jpg2474_E_090_CAP_1500_STILL_V4_1001https://vfxblog.com/wp-content/uploads/2017/06/2474_e_070_abb_2050_still_v7_1002.jpg2474_E_070_ABB_2050_STILL_V7_1002https://vfxblog.com/wp-content/uploads/2017/06/2474_e_070_abb_2050_still_v7_1001.jpg2474_E_070_ABB_2050_STILL_V7_10012017-07-10T17:58:57+00:00monthlyhttps://vfxblog.com/2017/07/06/wonder-womans-home/https://vfxblog.com/wp-content/uploads/2017/07/ww-t3-0016-21.jpgNGL204_dtlr3_s_t_r709_grd.088059.tifhttps://vfxblog.com/wp-content/uploads/2017/07/ww-t3-0016-2.jpgNGL204_dtlr3_s_t_r709_grd.088059.tif2017-07-07T01:45:08+00:00monthlyhttps://vfxblog.com/2017/07/05/the-making-of-extravaganza/https://vfxblog.com/wp-content/uploads/2017/07/extravaganza_space_step2.jpgEXTRAVAGANZA_Space_Step22017-07-06T05:32:43+00:00monthlyhttps://vfxblog.com/2017/07/04/wingnut-ars-super-cool-arkit-demo-at-wwdc/https://vfxblog.com/wp-content/uploads/2017/07/001.jpg0012017-07-04T21:34:35+00:00monthlyhttps://vfxblog.com/2017/07/02/getting-back-on-the-trojan-horse/https://vfxblog.com/wp-content/uploads/2017/07/img_5213.jpgIMG_5213https://vfxblog.com/wp-content/uploads/2017/07/img_5186.jpgIMG_5186Get used to this view, if you're at THU.https://vfxblog.com/wp-content/uploads/2017/07/img_5169.jpgIMG_5169This seriously was a THU activity one year, and it was awesome.https://vfxblog.com/wp-content/uploads/2017/07/img_5168.jpgIMG_5168https://vfxblog.com/wp-content/uploads/2017/07/img_3306.jpgIMG_3306Steve 'Spaz' Williams, a Knight in 2016, took out time to draw in attendee's sketch book.https://vfxblog.com/wp-content/uploads/2017/07/img_3292.jpgIMG_3292https://vfxblog.com/wp-content/uploads/2017/07/img_3273.jpgIMG_3273Doug Chiang talked Star Wars at THU in 2016. https://vfxblog.com/wp-content/uploads/2017/07/img_3211.jpgIMG_3211https://vfxblog.com/wp-content/uploads/2017/07/img_3209.jpgIMG_3209THU is never what you think it is. Until you meet a bunch of like-minded yet diverse speakers and attendees. There's not too many other events like that around.https://vfxblog.com/wp-content/uploads/2017/07/img_3169.jpgIMG_31692017-07-03T03:55:20+00:00monthlyhttps://vfxblog.com/2017/07/02/men-in-black-20th-vfx/https://vfxblog.com/wp-content/uploads/2017/07/mib_v1.jpgMIB_V1Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/07/edgar.jpgedgarhttps://vfxblog.com/wp-content/uploads/2017/07/pug.jpgpughttps://vfxblog.com/wp-content/uploads/2017/07/mikey1.jpgMikey1https://vfxblog.com/wp-content/uploads/2017/07/men_in_black_bg-7.jpgmen_in_black_BG.7https://vfxblog.com/wp-content/uploads/2017/07/men_in_black_bg-6.jpgmen_in_black_BG.6https://vfxblog.com/wp-content/uploads/2017/07/men_in_black_bg-5.jpgmen_in_black_BG.5https://vfxblog.com/wp-content/uploads/2017/07/men_in_black_bg-4.jpgmen_in_black_BG.4https://vfxblog.com/wp-content/uploads/2017/07/men_in_black_bg-3.jpgmen_in_black_BG.3https://vfxblog.com/wp-content/uploads/2017/07/men_in_black_bg-2.jpgmen_in_black_BG.22017-07-02T21:28:00+00:00monthlyhttps://vfxblog.com/2017/06/26/bumblebees-new-groove-and-new-move/https://vfxblog.com/wp-content/uploads/2017/06/transformersthelastknight_main-1280x600.jpgTransformersTheLastKnight_main-1280x6002017-06-26T20:42:35+00:00monthlyhttps://vfxblog.com/2017/06/23/breaking-down-princess-ahmanets-5-stages-in-the-mummy/https://vfxblog.com/wp-content/uploads/2017/06/2474_fpf_00183r.jpg2474_FPF_00183Rhttps://vfxblog.com/wp-content/uploads/2017/06/creature_2474_tpf_00075r_crop.jpgCreature_2474_TPF_00075R_CROPhttps://vfxblog.com/wp-content/uploads/2017/06/creature_2474_tpf_00042r.jpgCreature_2474_TPF_00042Rhttps://vfxblog.com/wp-content/uploads/2017/06/creature_2474_tp2_00122r.jpgCreature_2474_TP2_00122Rhttps://vfxblog.com/wp-content/uploads/2017/06/2474_bw_d001_00105_rv2_crop_s.jpgThe Mummyhttps://vfxblog.com/wp-content/uploads/2017/06/conceptart.jpgConceptarthttps://vfxblog.com/wp-content/uploads/2017/06/stage1.jpgstage1https://vfxblog.com/wp-content/uploads/2017/06/maquette.jpgmaquette2017-06-24T05:21:29+00:00monthlyhttps://vfxblog.com/2017/06/22/anatomy-of-a-scene-fleeing-the-undead-in-the-mummy/https://vfxblog.com/wp-content/uploads/2017/06/mummy_ambulance_broll3.jpgMummy_ambulance_broll3https://vfxblog.com/wp-content/uploads/2017/06/mummy_ambulance_broll2.jpgMummy_ambulance_broll2https://vfxblog.com/wp-content/uploads/2017/06/mummy_ambulance_broll1.jpgMummy_ambulance_broll1https://vfxblog.com/wp-content/uploads/2017/06/mummy_ambulance_broll.jpgMummy_ambulance_broll2017-06-22T07:31:55+00:00monthlyhttps://vfxblog.com/2017/06/20/the-story-behind-oats-studios-rakka/https://vfxblog.com/wp-content/uploads/2017/06/rakka_main-1280x600.jpgRakka_main-1280x6002017-06-20T23:09:29+00:00monthlyhttps://vfxblog.com/2017/06/19/why-i-think-you-should-attend-the-view-conference/https://vfxblog.com/wp-content/uploads/2017/06/dsc02417.jpgDSC02417In the room at VIEW.https://vfxblog.com/wp-content/uploads/2017/06/img_37771.jpgIMG_3777This is Russell Earl speaking on Captain America: Civil War at VIEW in 2016.https://vfxblog.com/wp-content/uploads/2017/06/img_3777.jpgIMG_37772017-06-19T23:10:28+00:00monthlyhttps://vfxblog.com/2017/06/19/this-means-war/https://vfxblog.com/wp-content/uploads/2017/06/ww-06907r.jpgWW-06907r2017-06-19T23:03:46+00:00monthlyhttps://vfxblog.com/2017/06/18/batman-robin-freeze-vfx/https://vfxblog.com/wp-content/uploads/2017/06/batman_robin.jpgBATMAN_ROBINIllustration by Aidan Roberts.2017-06-18T23:16:32+00:00monthlyhttps://vfxblog.com/2017/06/17/the-pros-behind-game-cinematics/https://vfxblog.com/wp-content/uploads/2017/06/038-039_3da108_feat-cinematics.jpg038-039_3DA108_Feat-Cinematics2017-06-18T06:31:07+00:00monthlyhttps://vfxblog.com/2017/06/12/predator-vfx-optical-red-suit-thermal-camera/https://vfxblog.com/wp-content/uploads/2017/06/predator_v1.jpgPREDATOR_V1Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/06/motion-control-rig-in-jungle-first-go-around.jpgMotion Control Rig in Jungle - First go aroundMotion control rig used in the jungle during the first round of shooting. Image courtesy Joel Hynek.https://vfxblog.com/wp-content/uploads/2017/06/monkey-in-red-suit.jpgMonkey in Red SuitMonkey in red suit. Image courtesy Joel Hynek.https://vfxblog.com/wp-content/uploads/2017/06/john-mctiernan-on-set.jpgJohn McTiernan on setJohn McTiernan on set. Image courtesy Joel Hynek.https://vfxblog.com/wp-content/uploads/2017/06/john-mctiernan-on-set-2.jpgJohn McTiernan on set 2Director John McTiernan on set. Image courtesy Joel Hynek.https://vfxblog.com/wp-content/uploads/2017/06/joel-silver-and-john-mctiernan.jpgJoel Silver and John McTiernanProducer Joel Silver and director John McTiernan on the set.https://vfxblog.com/wp-content/uploads/2017/06/heat-camera-image.jpgThermal Camera ImageThermal camera image. Image courtesy Joel Hynek.https://vfxblog.com/wp-content/uploads/2017/06/beau-marx-don-macalpine-john-mctiernan-beating-up-joel-hynek.jpgBeau Marx, Don MacAlpine, John McTiernan, beating up Joel HynekBeau Marx, Don MacAlpine and John McTiernan 'beating up' Joel Hynek.https://vfxblog.com/wp-content/uploads/2017/06/first-version-predator-in-red-suit-with-red-light.jpgFirst Version Predator in Red Suit with Red LightThe first version of the Predator in the red suit, with the red light approach. Image courtesy Joel Hynek.https://vfxblog.com/wp-content/uploads/2017/06/don-macalpine.jpgDon McAlpineDOP Don McAlpine. Image courtesy Joel Hynek.2017-06-13T01:39:30+00:00monthlyhttps://vfxblog.com/2017/06/12/predator-vfx-optical-red-suit-thermal-camera-2/2017-06-12T22:42:18+00:00monthlyhttps://vfxblog.com/2017/06/12/the-tech-of-the-25-year-old-lawnmower-man/https://vfxblog.com/wp-content/uploads/2017/06/lawnmowerman_avatar-1024x584.jpglawnmowerman_avatar-1024x5842017-06-12T22:40:56+00:00monthlyhttps://vfxblog.com/2017/06/05/the-mummy-1999-vfx/https://vfxblog.com/wp-content/uploads/2017/06/the_mummy_v1.jpgTHE_MUMMY_V1Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/06/the_mummy_v1.jpgTHE_MUMMY_V1Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/06/stage2a.jpgstage2ahttps://vfxblog.com/wp-content/uploads/2017/06/sphinx1.jpgsphinx1https://vfxblog.com/wp-content/uploads/2017/06/sphinx-people-plcmt.jpgsphinx.people plcm'tSphinx miniature with Alex Laurant's suggested people placements.https://vfxblog.com/wp-content/uploads/2017/06/sc2-newlayout-1.jpgSc2.NewLayout.1https://vfxblog.com/wp-content/uploads/2017/06/sc2-colorsketch-1.jpgSc2.colorsketch.1https://vfxblog.com/wp-content/uploads/2017/06/plaza-model4.jpgplaza model4ILM miniature.https://vfxblog.com/wp-content/uploads/2017/06/op1-comp2-build-8.jpgop1.comp2.build-8https://vfxblog.com/wp-content/uploads/2017/06/op1-comp-build-8.jpgop1.comp.build-82017-06-11T03:51:01+00:00monthlyhttps://vfxblog.com/2017/06/09/practical-creature-effects-alien-covenant/https://vfxblog.com/wp-content/uploads/2017/06/df-10742.jpg_DSC1065.ARWThe back burster is a Neomorph. For this, we built a full dummy, a writhing animatronic puppet. We also had a contortionist stunt guy who was throwing himself around. Lesley Vanderwalt, hair and make up designer, along with her team did a fantastic job on Ben Rigby’s look, with Rachelle O’Donnell on set covering him in thick sweat after every take. We had prosthetics on Ben Rigby’s back and also the stunt double’s back, sculpted by Colin Ware, and you can really see the displacement of the spine and the ribcage pushing through, like there's something hideous happening underneath the surface, and then convulsions and shuddering begin. What you see at the start are the spikes of the Neomorph pushing through his back. We had a close-up of spikes coming out of the back and for that we had another silicon, resuseable silicone tear. I’ve never been on a set with so much blood. It was insane. So we had a little puppet which was the birthing one. We had another puppet which we called the terrier, the size of a small chimpanzee or small monkey. It hatches and then heads off to the other cast slightly bigger. It was a big rod puppet and Conor and I were trying to operate this thing on a set that was covered in blood. Art department had these vinyl blood splat mats. So there was all this blood and slime and these vinyl matts, which made for the slipperiest surface I've ever been on. It was almost impossible to stand on them without slipping over and every take Ridley's like, ‘Run, run, run’ with the neomorph puppet. And legs are going everywhere, it was just mental, absolutely mental. After every take a team of people were just going through and mopping up blood for re-setting. It was like litres and litres and litres of blood just being sprayed everywhere. Lots of fun. But brutal.https://vfxblog.com/wp-content/uploads/2017/06/xeno-sculpt.jpgxeno sculpthttps://vfxblog.com/wp-content/uploads/2017/06/xeno-sculpt-2.jpgxeno sculpt 2Ridley was always referencing flayed waxworks as reference for the Xenomorph; exposed ribs and flayed skin, muscles, and incredibly thin proportions, impossibly thin proportions, but keeping the scale at around nine foot, so still quite big for the Xeno.https://vfxblog.com/wp-content/uploads/2017/06/xeno-paint-damian.jpgxeno paint damianRidley is very practical and he does love shooting everything in camera. I believe it’s part of his process. He also does rough edits on the go. It was quite an intense set to be on because Ridley shoots very quickly and you have to be flexible and confident in what you've built as shots/angels will often change . You can't go onto a set like Alien: Covenant with Ridley and have anything made to be shot one way because Ridley doesn't work that way. You know, he'll change it up so you just have to be flexible. Conor did explain this to me at lengths before filming began.https://vfxblog.com/wp-content/uploads/2017/06/xeno-heads-paint.jpgxeno heads paintFor the suit Xenomorph head, there was a servo-driven RC jaw that head mechanic Greg McKee took care of and designed. For the suit, the head/neck movement was directly driven by Andrew’s own head and neck movements. A slave driven neck mechanism that allowed natural, flowing head movements/turns when he walked.https://vfxblog.com/wp-content/uploads/2017/06/xeno-head.jpgxeno headhttps://vfxblog.com/wp-content/uploads/2017/06/xeno-hands-feet-sculpt-andy-col.jpgXeno hands feet sculpt andy colhttps://vfxblog.com/wp-content/uploads/2017/06/xeno-full-scale-torso-marea.jpgxeno full scale torso mareahttps://vfxblog.com/wp-content/uploads/2017/06/xeno-full-scale-puppet-rob-adam-colin.jpgxeno full scale puppet rob adam colinOn this project we really experimented and embraced 3D printing. We had a lot of designs ZBrush modelled. However, most creatures did begin as clay sculptures. The Xenomorph head started as a sculpt that Bradley Simms did. Once Ridley liked that, we took a bunch of photos and scanned it and then Colin Shulver cleaned that up in ZBrush. Then we broke it down like a model kit, so the inner skull, jaw etc all went off and got printed. Some of the prints were used directly but most of them were moulded and then cast out in super light-weight resin. The carapace for instance was clear gel coat and fibreglass resin. The body was sculpted by Dominic Hailstone and myself. The ribcage was cast in urethanes. We went to foam latex for the arms, neoprene, lycra and things like that for the inner fabrications. And we had some silicon elements on the face, too.https://vfxblog.com/wp-content/uploads/2017/06/xeno-body-sculpt-adam-dom-2.jpgxeno body sculpt adam dom 2During the shoot, the scariest white-knuckle kind of shots involved Andrew Crawford running in the full scale suit. There's a really long platform that the Xenomorph is seen running down amongst all the dead engineers. Andrew, who is a dancer actually, is about 6” 4’, slim build with a fantastic sense of movement. He'd never done anything like this before, and here he is in this suit with very limited vision, weight restrictions on his head, on these carbon fiber blades, running down an angle. So I'd be there right before the shot holding him. And he's got one of our hero heads on the top of his own head. So he runs down this platform onto gravel, like big rocky gravel, and it was scary! The whole crew were holding their breath during the takes. I was very concerned about Andrew and concerned about the suit. But he did it, he pulled it off.2017-06-09T23:18:17+00:00monthlyhttps://vfxblog.com/2017/06/07/the-beast-within/https://vfxblog.com/wp-content/uploads/2017/06/beast.gifbeast2017-06-07T21:31:43+00:00monthlyhttps://vfxblog.com/2017/06/06/the-intoxicating-sims-behind-javier-bardems-hair-in-pirates-5/https://vfxblog.com/wp-content/uploads/2017/06/potc5_dtlr4_2k_r709_marketing_stills_022317_86411_r.jpgnull"PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES"..The villainous Captain Salazar (Javier Bardem) pursues Jack Sparrow (Johnny Depp) as he searches for the trident used by Poseidon..Ph: Film Frame..©Disney Enterprises, Inc. All Rights Reserved.2017-06-06T21:15:25+00:00monthlyhttps://vfxblog.com/2017/06/06/kevin-tod-haug-on-american-gods-and-his-past-great-vfx-work/https://vfxblog.com/wp-content/uploads/2017/06/kevintodhaug2.jpgKevinTodHaug22017-06-06T21:11:27+00:00monthlyhttps://vfxblog.com/2017/06/04/a-home-grown-vfx-event/https://vfxblog.com/wp-content/uploads/2017/06/aeaf3.jpgAEAF3https://vfxblog.com/wp-content/uploads/2017/06/aeaf2.jpgAEAF2https://vfxblog.com/wp-content/uploads/2017/06/aeaf1.jpgAEAF12017-06-05T04:57:56+00:00monthlyhttps://vfxblog.com/2017/06/02/big-hugs/https://vfxblog.com/wp-content/uploads/2017/06/hg158_0260_qcrender_1090-2-1024x577.jpgHg158_0260_qcrender_1090-2-1024x5772017-06-02T21:59:09+00:00monthlyhttps://vfxblog.com/2017/05/26/an-effects-laden-solution-to-an-icy-problem/https://vfxblog.com/wp-content/uploads/2017/05/13-_before.jpg13._before<DD><DD>/dd/shows/F8/REF/PUBLICITY/CINEFEX/STILLS/farm/publicity_v01.nk</DD><DD /></DD>2017-05-27T00:38:21+00:00monthlyhttps://vfxblog.com/2017/05/24/de-ageing-ego-and-other-ego-fx/https://vfxblog.com/wp-content/uploads/2017/05/weta_ego_reforms.jpgWeta_Ego_reforms2017-05-24T22:08:31+00:00monthlyhttps://vfxblog.com/2017/05/24/how-practical-and-digital-combined-on-alien-covenant/https://vfxblog.com/wp-content/uploads/2017/05/aliencovenant_main-1280x600.jpgAlienCovenant_main-1280x6002017-05-24T21:15:41+00:00monthlyhttps://vfxblog.com/2017/05/23/luma-ear-canal-alien-covenant-vfx/https://vfxblog.com/wp-content/uploads/2017/05/img_1295.jpgIMG_1295https://vfxblog.com/wp-content/uploads/2017/05/img_1304.jpgIMG_1304Luma's crew at the Q&A. Photo by Hugo Sands.https://vfxblog.com/wp-content/uploads/2017/05/img_1255.jpgIMG_1255The Alien: Covenant Luma Q&A. Photo by Hugo Sands.https://vfxblog.com/wp-content/uploads/2017/05/shv_157_0120-1134.jpgSHV_157_0120.1134https://vfxblog.com/wp-content/uploads/2017/05/shv_157_0120-1133.jpgSHV_157_0120.1133https://vfxblog.com/wp-content/uploads/2017/05/shv_157_0110.jpgSHV_157_0110https://vfxblog.com/wp-content/uploads/2017/05/shv_157_0015.jpgSHV_157_0015https://vfxblog.com/wp-content/uploads/2017/05/shk_015_0460.jpgSHK_015_0460https://vfxblog.com/wp-content/uploads/2017/05/shk_015_0457.jpgSHK_015_0457https://vfxblog.com/wp-content/uploads/2017/05/shk_005_0072.jpgSHK_005_00722017-05-23T22:13:10+00:00monthlyhttps://vfxblog.com/2017/05/22/lose-a-limb-get-it-back/https://vfxblog.com/wp-content/uploads/2017/05/tmg-article_tall1.jpgtmg-article_tall2017-05-22T22:27:43+00:00monthlyhttps://vfxblog.com/2017/05/18/lets-talk-about-those-crazy-guardians-of-the-galaxy-vol-2-warp-shots/https://vfxblog.com/wp-content/uploads/2017/05/qsh0055_cmp_v017-1023a.jpgQSH0055_CMP_v017.1023aAs we were being briefed by [overall visual effects supervisor] Christopher Townsend on the sequence, I must admit it was a tiny bit intimidating. These were close-ups of well-known actors, one of which is the brother of the director James Gunn! So creating a digi-double of these two actors was definitely a challenge.https://vfxblog.com/wp-content/uploads/2017/05/qsh0095_cmp_v010-1011a.jpgQSH0095_CMP_v010.1011aThe performance was based on a system of blend shapes. We’re talking only about four or five shots, and time was against us, so we preferred building the blend shapes and keyframe animating to replicate the performance. Then we started playing with the deformation. At first, it starts very gently and ramps up to the very end of the sequence, where they go really deformed and wild, almost crazy.https://vfxblog.com/wp-content/uploads/2017/05/qsh0070_cmp_v009-1073a.jpgQSH0070_CMP_v009.1073ahttps://vfxblog.com/wp-content/uploads/2017/05/qsh0087_cmp_v009-1037a.jpgQSH0087_CMP_v009.1037aWe replicated their performances first, one to one. So we had the actors from the plates. We had to re-create digitally the performance, without any difference whatsoever. Once this was done, we then lit and rendered and composited them to make replica in a digital form from the neck up - then we started playing with the deformation.https://vfxblog.com/wp-content/uploads/2017/05/qsh0085_cmp_v007-1043a.jpgQSH0085_CMP_v007.1043aOur animation supervisor Simone Kraus and the animators came up with this crazy solution and I thought Marvel and Chris were not going to go for it. But James Gunn was so amused that he wanted to push on the craziness. In fact, you see Yondu go really grotesque in his shapes - he becomes almost fluid or rubbery. We also added in some soft tissue simulation around the cheeks and ears to make it appear less stiff.https://vfxblog.com/wp-content/uploads/2017/05/qsh0095_cmp_v010-1011.jpgQSH0095_CMP_v010.1011The performance was based on a system of blend shapes. We’re talking only about four or five shots, and time was against us, so we preferred building the blend shapes and keyframe animating to replicate the performance. Then we started playing with the deformation. At first, it starts very gently and ramps up to the very end of the sequence, where they go really deformed and wild, almost crazy. https://vfxblog.com/wp-content/uploads/2017/05/qsh0087_cmp_v009-1037.jpgQSH0087_CMP_v009.1037We replicate their performances first, one to one. So we had the actors from the plates. We had to re-create digitally the performance, without any difference whatsoever. Once this was done, and lit and rendered and composited - just as a replica in a digital form from the neck up - then we started playing with the deformation. https://vfxblog.com/wp-content/uploads/2017/05/qsh0085_cmp_v007-1043.jpgQSH0085_CMP_v007.1043Our animation supervisor Simone Kraus and the animators came up with this crazy solution and I thought Marvel and Chris were not going to go for it. But James Gunn was so amused that he wanted to push on the craziness. In fact, you see Yondu go really grotesque in his shapes - he becomes almost fluid or rubbery. We also added in some soft tissue simulation around the cheeks and ears to make it appear less stiff. https://vfxblog.com/wp-content/uploads/2017/05/qsh0070_cmp_v009-1073.jpgQSH0070_CMP_v009.1073https://vfxblog.com/wp-content/uploads/2017/05/qsh0055_cmp_v017-1023.jpgQSH0055_CMP_v017.1023As we were briefed by [overall visual effects supervisor] Christopher Townsend on the sequence, I must admit it was a tiny bit intimidating. These were close-ups of well-known actors, one of which is the brother of the director James Gunn! So creating a digi-double of these two actors was definitely a challenge.2017-05-22T22:22:50+00:00monthlyhttps://vfxblog.com/2017/05/18/can-we-animate-in-vr-yet/https://vfxblog.com/wp-content/uploads/2017/05/limited-creative-environment_1.jpgLimited Creative Environment_12017-05-18T23:04:16+00:00monthlyhttps://vfxblog.com/2017/05/17/rocket-fractals-and-3d-artist/https://vfxblog.com/wp-content/uploads/2017/05/3dartist.jpg3dartist2017-05-18T01:36:56+00:00monthlyhttps://vfxblog.com/2017/05/17/theres-something-about-groot/https://vfxblog.com/wp-content/uploads/2017/05/guardiansvol2_main-1280x600.jpgGuardiansVol2_main-1280x6002017-05-17T20:32:08+00:00monthlyhttps://vfxblog.com/2017/05/15/blender-at-its-best/https://vfxblog.com/wp-content/uploads/2017/05/barber.jpgbarber2017-05-16T00:16:38+00:00monthlyhttps://vfxblog.com/2017/05/15/american-gods-and-the-blue-screen-kitty/https://vfxblog.com/wp-content/uploads/2017/05/c_13rzsuqaaps2_.jpgC_13RZSUQAAPs2_2017-05-15T07:35:21+00:00monthlyhttps://vfxblog.com/2017/05/13/its-ugly-for-a-reason/https://vfxblog.com/wp-content/uploads/2017/05/ugly_tech_main-1280x600.jpgugly_tech_main-1280x6002017-05-13T10:02:12+00:00monthlyhttps://vfxblog.com/2017/05/08/those-love-making-scenes-in-american-gods-w-t-f/https://vfxblog.com/wp-content/uploads/2017/05/tmg-article_tall.jpgtmg-article_tall2017-05-08T16:20:03+00:00monthlyhttps://vfxblog.com/2017/05/07/fifth-element-20-years-vfx/https://vfxblog.com/wp-content/uploads/2017/05/fifthelement_aidanroberts.jpgFifthElement_AidanRobertsIllustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/05/fifthelement_aidanroberts.jpgFifthElement_AidanRobertshttps://vfxblog.com/wp-content/uploads/2017/04/17212192_1433660590009562_7998805010694846060_o.jpg17212192_1433660590009562_7998805010694846060_ohttps://vfxblog.com/wp-content/uploads/2017/04/fifthelement-025.jpgfifthelement-025https://vfxblog.com/wp-content/uploads/2017/04/fifthelement_01.jpgFifthElement_01https://vfxblog.com/wp-content/uploads/2017/04/fifthelement_02.jpgFifthElement_02https://vfxblog.com/wp-content/uploads/2017/04/fifthelement_03.jpgFifthElement_03https://vfxblog.com/wp-content/uploads/2017/04/fifthelement_04.jpgFifthElement_04https://vfxblog.com/wp-content/uploads/2017/04/fifthelement_05.jpgFifthElement_05https://vfxblog.com/wp-content/uploads/2017/04/fifthelement_06.jpgFifthElement_062017-05-07T08:13:40+00:00monthlyhttps://vfxblog.com/2017/05/04/real-time-real-time-real-time/https://vfxblog.com/wp-content/uploads/2017/05/humanrace_featured.jpgHumanRace_featured2017-05-04T08:24:19+00:00monthlyhttps://vfxblog.com/2017/05/02/american-gods-woh/https://vfxblog.com/wp-content/uploads/2017/05/americangods_main-1280x600.jpgAmericanGods_main-1280x6002017-05-03T05:39:34+00:00monthlyhttps://vfxblog.com/2017/04/24/ice-cars-fire-and-a-submarine-just-another-day-on-the-fate-of-the-furious/https://vfxblog.com/wp-content/uploads/2017/04/screen-shot-2017-04-25-at-2-45-29-pm.jpgScreen Shot 2017-04-25 at 2.45.29 PMhttps://vfxblog.com/wp-content/uploads/2017/04/2473_tp3i_00124r_crop.jpg2473_TP3I_00124R_CROPhttps://vfxblog.com/wp-content/uploads/2017/04/2473_tp3i_00107r_crop.jpg2473_TP3I_00107R_CROPhttps://vfxblog.com/wp-content/uploads/2017/04/2473_tp_00167r_um.jpg2473_TP_00167R_UMhttps://vfxblog.com/wp-content/uploads/2017/04/f8vfx1.jpgF8VFX12017-04-25T04:46:39+00:00monthlyhttps://vfxblog.com/2017/04/24/zombies/https://vfxblog.com/wp-content/uploads/2017/04/fatefurious_main-1280x600.jpgFateFurious_main-1280x6002017-04-24T21:25:05+00:00monthlyhttps://vfxblog.com/2017/04/22/david-oreillys-everything-game-is-wicked/https://vfxblog.com/wp-content/uploads/2017/04/everything_17-c-david-oreilly-2017.jpgEverything_17 c David OReilly 20172017-04-22T22:56:50+00:00monthlyhttps://vfxblog.com/2017/04/18/the-book-i-wish-was-around-when-i-got-into-vfx/https://vfxblog.com/wp-content/uploads/2017/04/figure-8-10.jpgfigure 8.10The actors, the portable green screen, and the reflection in the cobblestones. The Immigrant © Worldview Entertainment, Keep Your Head, Kingsgate Films, The Weinstein Company. Visual effects by Brainstorm Digital.https://vfxblog.com/wp-content/uploads/2017/04/figure-8-9.jpgfigure 8.9In this shot from Boardwalk Empire we had to replace the background. While the green screen was useful for extracting the subject, we were able to extract only some of the smoke, and had to augment it with generic elements. Boardwalk Empire © Home Box Office (HBO). Visual effects by Brainstorm Digital.https://vfxblog.com/wp-content/uploads/2017/04/eran.jpgeranhttps://vfxblog.com/wp-content/uploads/2017/04/figure-8-11.jpgfigure 8.11A happy ending nonetheless, with the offending reflections removed and the actors walking down the matte-painted 1920s’ NY street. The Immigrant © Worldview Entertainment, Keep Your Head, Kingsgate Films, The Weinstein Company. Visual effects by Brainstorm Digital.2017-04-18T21:13:46+00:00monthlyhttps://vfxblog.com/2017/04/15/the-household-characters-of-beauty-and-the-beast-a-conversation-with-framestore/https://vfxblog.com/wp-content/uploads/2017/04/msm0380_g_p3-0_.jpgnullThe mantel clock Cogsworth, the teapot Mrs. Potts, Lumiere the candelabra and the feather duster Plumette live in an enchanted castle in Disney's BEAUTY AND THE BEAST the live-action adaptation of the studio's animated classic directed by Bill Condon.https://vfxblog.com/wp-content/uploads/2017/04/lfb0440_g_p3-0_.jpgnullLumiere, the candelabra, is smitten with Plumette, the feather duster, in Disney's BEAUTY AND THE BEAST, a live-action adaptation of the studio's animated classic which is a celebration of one of the most beloved stories ever told.https://vfxblog.com/wp-content/uploads/2017/04/bb_trl2_still_4c.jpgnullCogworth the mantel clock in Disney's BEAUTY AND THE BEAST, a live-action adaptation of the studio's animated classic.https://vfxblog.com/wp-content/uploads/2017/04/bb_trl2_still_3c.jpgnullLumiere, the candelabra in Disney's BEAUTY AND THE BEAST, a live-action adaptation of the studio's animated classic which is a celebration of one of the most beloved stories ever told.https://vfxblog.com/wp-content/uploads/2017/04/batb_r2_v3225_161207_19_jd_g_p3_1-334-1.jpgnullBelle (Emma Watson) learns that the Beast's castle is enchanted in Disney's BEAUTY AND THE BEAST, directed by Bill Condon.https://vfxblog.com/wp-content/uploads/2017/04/bb_trl2_still_2c.jpgnullThe Beast (Dan Stevens) with Lumiere the candelabra and Cogsworth the mantel clock in the castle kitchen in Disney's BEAUTY AND THE BEAST, a live-action adaptation of the studio's animated classic which is a celebration of one of the most beloved stories ever told.2017-04-18T08:59:29+00:00monthlyhttps://vfxblog.com/2017/04/12/vr-is-here-but-what-have-animators-learnt-so-far/https://vfxblog.com/wp-content/uploads/2017/04/avengers_vr_2.jpgAvengers_VR_22017-04-12T21:52:27+00:00monthlyhttps://vfxblog.com/2017/04/12/behind-the-scenes-of-the-smurf-critters-in-the-lost-village/2017-04-12T03:54:10+00:00monthlyhttps://vfxblog.com/2017/04/07/director-interview-rupert-sanders-on-ghost-in-the-shell/https://vfxblog.com/wp-content/uploads/2017/04/gits_ff_034k.jpgnullScarlett Johansson plays Major in Ghost in the Shell from Paramount Pictures and DreamWorks Pictures.https://vfxblog.com/wp-content/uploads/2017/04/gits_ff_314.jpgnullScarlett Johansson plays the Major and Michael Carmen Pitt plays Kuze in Ghost in the Shell from Paramount Pictures and DreamWorks Pictures.https://vfxblog.com/wp-content/uploads/2017/04/gits_ff_055.jpgnullGhost in the Shell from Paramount Pictures and DreamWorks Pictures.https://vfxblog.com/wp-content/uploads/2017/04/gts-24707_r.jpgnullPilou Asbaek, Scarlett Johansson and Director Rupert Sanders on the set.https://vfxblog.com/wp-content/uploads/2017/04/ghost1.jpgnullDirector Rupert Sanders on the set of Ghost in the Shell from Paramount Pictures and DreamWorks Pictures in theaters March 31, 2017.https://vfxblog.com/wp-content/uploads/2017/04/gts-00872_r4.jpgnullDirector Rupert Sanders and Scarlett Johansson on the set of Ghost in the Shell from Paramount Pictures and DreamWorks Pictures in theaters March 31, 2017.2017-04-07T22:26:53+00:00monthlyhttps://vfxblog.com/2017/04/07/sonys-smurfs-are-back/https://vfxblog.com/wp-content/uploads/2017/04/smurfs_feature_main-1280x600.jpgSmurfs_feature_main-1280x6002017-04-07T22:25:11+00:00monthlyhttps://vfxblog.com/2017/04/06/the-vfx-industry-is-always-changing/https://vfxblog.com/wp-content/uploads/2017/04/mags.jpgmagsCheck out the first issue of VFX Voice at vfxvoice.com.2017-04-06T21:56:48+00:00monthlyhttps://vfxblog.com/2017/04/04/quirky-and-unity/https://vfxblog.com/wp-content/uploads/2017/04/mrcarton_main-1280x600.jpgMrCarton_main-1280x6002017-04-04T21:29:32+00:00monthlyhttps://vfxblog.com/2017/04/01/live-action-cg-hybrid-characters-are-growing-up/https://vfxblog.com/wp-content/uploads/2017/04/kuze1.jpgKuze12017-04-01T03:54:48+00:00monthlyhttps://vfxblog.com/2017/03/30/the-boss-baby-director-put-up-with-my-crazy-niece-and-nephews/https://vfxblog.com/wp-content/uploads/2017/03/bossbaby_main-1280x600.jpgBossBaby_main-1280x6002017-03-30T22:02:06+00:00monthlyhttps://vfxblog.com/2017/03/30/fmx-2017s-programme-a-wealth-of-riches/https://vfxblog.com/wp-content/uploads/2017/03/img_9629.jpgIMG_96292017-03-30T02:10:42+00:00monthlyhttps://vfxblog.com/2017/03/28/world-building/https://vfxblog.com/wp-content/uploads/2017/03/world.jpgworld2017-03-28T02:04:59+00:00monthlyhttps://vfxblog.com/2017/03/06/the-cg-actors-in-logan-that-went-under-the-radar/https://vfxblog.com/wp-content/uploads/2017/03/logan_main-1280x600.jpgLogan_main-1280x6002017-03-28T02:01:51+00:00monthlyhttps://vfxblog.com/2017/03/24/how-ilm-approached-the-animation-in-kong-skull-island-its-not-how-you-think/https://vfxblog.com/wp-content/uploads/2017/03/kg-fp-178-rbc-r.jpgTAN208_178.tif2017-03-24T21:39:57+00:00monthlyhttps://vfxblog.com/2017/03/20/the-origins-of-the-lawnmower-man-are-more-surprising-than-you-think/https://vfxblog.com/wp-content/uploads/2017/03/lawnmowerman-1000x570-mv8jwfle0tfm0x8w1lvrjn8uvly6c1hualhm0fm7us.jpglawnmowerman-1000x570-mv8jwfle0tfm0x8w1lvrjn8uvly6c1hualhm0fm7us2017-03-20T19:56:29+00:00monthlyhttps://vfxblog.com/2017/03/15/the-smart-thing-that-siggraph-is-doing-this-year-for-computer-animation-festival/https://vfxblog.com/wp-content/uploads/2017/03/siggraph2017_caf_main-1280x600.jpgSIGGRAPH2017_CAF_main-1280x6002017-03-15T21:07:41+00:00monthlyhttps://vfxblog.com/2017/03/08/a-bunch-of-world-class-vfx-and-design-artists-are-about-to-hit-melbourne-and-sydney/https://vfxblog.com/wp-content/uploads/2017/03/alexnice_web01.jpgalexnice_web01https://vfxblog.com/wp-content/uploads/2017/03/alexnice_web02.jpgalexnice_web02https://vfxblog.com/wp-content/uploads/2017/03/alex_nice.jpgalex_niceAlex Nice.https://vfxblog.com/wp-content/uploads/2017/03/alexnice_web03.jpgalexnice_web03https://vfxblog.com/wp-content/uploads/2017/03/alexnice_web05.jpgalexnice_web05https://vfxblog.com/wp-content/uploads/2017/03/alexnice_web06.jpgalexnice_web06https://vfxblog.com/wp-content/uploads/2017/03/alexnice_web04.jpgalexnice_web042017-03-08T23:00:41+00:00monthlyhttps://vfxblog.com/2017/03/02/chatting-with-rock-dog-director-ash-brannon/https://vfxblog.com/wp-content/uploads/2017/03/rockdog_main-1280x600.jpgrockdog_main-1280x6002017-03-02T21:30:28+00:00monthlyhttps://vfxblog.com/2017/02/28/kong-vfx-a-brief-history/https://vfxblog.com/wp-content/uploads/2017/02/kong_stopmotion1.jpgkong_stopmotion12017-02-28T02:55:40+00:00monthlyhttps://vfxblog.com/2017/02/27/look-its-your-last-minute-oscar-vfx-breakdown-fix/https://vfxblog.com/wp-content/uploads/2017/02/kubo.jpgkubohttps://vfxblog.com/wp-content/uploads/2017/02/rogue.jpgroguehttps://vfxblog.com/wp-content/uploads/2017/02/strange.jpgstrangehttps://vfxblog.com/wp-content/uploads/2017/02/jungle.jpgjunglehttps://vfxblog.com/wp-content/uploads/2017/02/deepwater.jpgdeepwater2017-02-27T00:46:16+00:00monthlyhttps://vfxblog.com/2017/02/24/ghost-rider-agents-shield-vfx/https://vfxblog.com/wp-content/uploads/2017/02/ghostrider.jpgghostriderhttps://vfxblog.com/wp-content/uploads/2017/02/shd408_036_030_comp_007-0038.jpgshd408_036_030_comp_007-0038https://vfxblog.com/wp-content/uploads/2017/02/shd401_040_007_comp_014-0330.jpgshd401_040_007_comp_014-0330https://vfxblog.com/wp-content/uploads/2017/02/shd401_040_007_comp_014-0300.jpgshd401_040_007_comp_014-0300https://vfxblog.com/wp-content/uploads/2017/02/shd402_041_115_comp_012-0090.jpgshd402_041_115_comp_012-0090https://vfxblog.com/wp-content/uploads/2017/02/shd406_030_070_build_003-0570.jpgshd406_030_070_build_003-0570https://vfxblog.com/wp-content/uploads/2017/02/shd401_040_007_comp_014-0270.jpgshd401_040_007_comp_014-0270https://vfxblog.com/wp-content/uploads/2017/02/shd401_040_007_comp_014-0009.jpgshd401_040_007_comp_014-00092017-02-24T04:51:53+00:00monthlyhttps://vfxblog.com/2017/02/22/tale-of-three-brothers-director-ben-hibon-on-his-next-creative-adventures-at-luma-pictures/https://vfxblog.com/wp-content/uploads/2017/02/bhpress02sm.jpgbhpress02smBen Hibon.https://vfxblog.com/wp-content/uploads/2017/02/hp07ns_grd.jpghp07ns_grdhttps://vfxblog.com/wp-content/uploads/2017/02/hp06ns_grd.jpghp06ns_grdhttps://vfxblog.com/wp-content/uploads/2017/02/hp6ns_grd.jpghp6ns_grdhttps://vfxblog.com/wp-content/uploads/2017/02/hp02ns_grd.jpghp02ns_grdA still from The Tale of Three Brothers sequence in Harry Potter and the Deathly Hallows - Part 1.https://vfxblog.com/wp-content/uploads/2017/02/hp2ns_grd.jpghp2ns_grdA still from The Tale of Three Brothers sequence in Harry Potter and the Deathly Hallows - Part 1.https://vfxblog.com/wp-content/uploads/2017/02/4629154952.jpg4629154952Concept by Ben Hibon.https://vfxblog.com/wp-content/uploads/2017/02/4614700374.jpg4614700374Concept by Ben Hibon.https://vfxblog.com/wp-content/uploads/2017/02/4591349220.jpg45913492202017-02-22T23:26:34+00:00monthlyhttps://vfxblog.com/2017/02/22/lego-batman-uncovered-on-the-cover-of-3d-artist/https://vfxblog.com/wp-content/uploads/2017/02/cover.jpgcover2017-02-22T21:11:15+00:00monthlyhttps://vfxblog.com/2017/02/10/the-director-of-the-lego-batman-movie-is-in-conversation/https://vfxblog.com/wp-content/uploads/2017/02/lgp-cp-2273.jpglgp-cp-22732017-02-18T02:35:11+00:00monthlyhttps://vfxblog.com/2017/02/17/terminator-2-t-1000-truck-scene-3d/https://vfxblog.com/wp-content/uploads/2017/02/img_1955.jpgimg_1955Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/02/t2_cropin.jpgt2_cropinIllustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/02/script.jpgscriptAn excerpt from the script for Terminator 2: Judgment Day.https://vfxblog.com/wp-content/uploads/2017/02/ilm_terminator2.jpgilm_terminator2A final frame from the sequence.https://vfxblog.com/wp-content/uploads/2017/02/robert-patrick-t1000.jpgrobert-patrick-t1000Robert Patrick with the gird painted on him.https://vfxblog.com/wp-content/uploads/2017/02/robertpatrick.jpgrobertpatrickReference stills of Robert Patrick in police uniform.https://vfxblog.com/wp-content/uploads/2017/02/ilm_maquettes.jpgilm_maquettesThe various T-1000 macquettes on display at ILM.https://vfxblog.com/wp-content/uploads/2017/02/robertpatrick3.jpgrobertpatrick3A body parts sketch and Cyberware scan used by the ILM team.https://vfxblog.com/wp-content/uploads/2017/02/robertpatrick4.jpgrobertpatrick4Sketches of the five RP stages.https://vfxblog.com/wp-content/uploads/2017/02/test1.jpgtest12017-02-18T00:24:55+00:00monthlyhttps://vfxblog.com/2017/02/15/the-making-of-the-lego-batman-movie-making-of-book/https://vfxblog.com/wp-content/uploads/2017/02/51qdbbifsrl.jpg51qdbbifsrlhttps://vfxblog.com/wp-content/uploads/2017/02/spread5.jpgspread5https://vfxblog.com/wp-content/uploads/2017/02/spread4.jpgspread4https://vfxblog.com/wp-content/uploads/2017/02/spread3.jpgspread3https://vfxblog.com/wp-content/uploads/2017/02/spread2.jpgspread2https://vfxblog.com/wp-content/uploads/2017/02/spread.jpgspread2017-02-15T20:45:40+00:00monthlyhttps://vfxblog.com/2017/02/13/sci-techs-and-speed/https://vfxblog.com/wp-content/uploads/2017/02/img_5837.jpgimg_5837The author shamelessly posing with an Oscar statuette at the Sci-Techs.https://vfxblog.com/wp-content/uploads/2017/02/170211d_001.jpg89th Academy Awards, Scientific and Technical Achievement AwardsThe Sci-Tech award recipients.https://vfxblog.com/wp-content/uploads/2017/02/170211c_0162.jpg89th Academy Awards, Scientific and Technical Achievement AwardsIain Matthews, J.P. Lewis and Luca Fascione during the Academy of Motion Picture Arts and Sciences' Scientific and Technical Achievement Awards on February 11, 2017, in Beverly Hills, California.https://vfxblog.com/wp-content/uploads/2017/02/170211c_0161.jpg89th Academy Awards, Scientific and Technical Achievement AwardsKiran Bhat, Michael Koperwas, Brian Cantwell and Paige Warner were among the recipients for the design and development of the ILM facial performance-capture solving system (one of several Sci-Tech awards relating to face based solvers).https://vfxblog.com/wp-content/uploads/2017/02/170211c_0089.jpg89th Academy Awards, Scientific and Technical Achievement AwardsHosts Leslie Mann and John Cho during the Academy of Motion Picture Arts and Sciences' Scientific and Technical Achievement Awards on February 11, 2017, in Beverly Hills, California.https://vfxblog.com/wp-content/uploads/2017/02/170211c_0099.jpg89th Academy Awards, Scientific and Technical Achievement AwardsInside the Beverly Wilshire.2017-02-13T06:19:18+00:00monthlyhttps://vfxblog.com/2017/02/08/ken-ralston-people/https://vfxblog.com/wp-content/uploads/2017/02/kenralston_main-1280x600.jpgkenralston_main-1280x6002017-02-08T16:13:21+00:00monthlyhttps://vfxblog.com/2017/02/07/the-race-to-finish-dantes-peak-20-years-ago/https://vfxblog.com/wp-content/uploads/2017/02/dantes-peak-f.jpgdantes-peak-fhttps://vfxblog.com/wp-content/uploads/2017/02/dantes-peak-from-poloroid.jpgdantes-peak-from-poloroidhttps://vfxblog.com/wp-content/uploads/2017/02/1401759_10202456606914125_1675696090_o.jpg1401759_10202456606914125_1675696090_ohttps://vfxblog.com/wp-content/uploads/2017/02/10506588_922648917762906_3577572355153733436_o.jpg10506588_922648917762906_3577572355153733436_ohttps://vfxblog.com/wp-content/uploads/2017/02/10477425_922648947762903_8430108375273962889_o.jpg10477425_922648947762903_8430108375273962889_ohttps://vfxblog.com/wp-content/uploads/2017/02/10450092_922648944429570_6437067016757412071_o.jpg10450092_922648944429570_6437067016757412071_ohttps://vfxblog.com/wp-content/uploads/2017/02/10525368_922648981096233_8833460070365507945_o.jpg10525368_922648981096233_8833460070365507945_ohttps://vfxblog.com/wp-content/uploads/2017/02/10553900_922649011096230_8693167783350294872_o.jpg10553900_922649011096230_8693167783350294872_ohttps://vfxblog.com/wp-content/uploads/2017/02/10431341_922649024429562_3210860465286648576_o.jpg10431341_922649024429562_3210860465286648576_ohttps://vfxblog.com/wp-content/uploads/2017/02/10286928_922649054429559_435809950244878803_o.jpg10286928_922649054429559_435809950244878803_o2017-02-07T15:19:01+00:00monthlyhttps://vfxblog.com/2017/02/07/their-toughest-shots/https://vfxblog.com/wp-content/uploads/2017/02/cartoonbrew_vfxnominees2017-1280x600.jpgcartoonbrew_vfxnominees2017-1280x6002017-02-07T00:07:46+00:00monthlyhttps://vfxblog.com/2017/01/31/youre-a-wonderful-human-being-re-visiting-cg-jabba-20-years-later/https://vfxblog.com/wp-content/uploads/2017/01/declanmulholland_as_jabba.jpgdeclanmulholland_as_jabbaAn on-set shot of Declan Mulholland during filming of the scene in 1977.https://vfxblog.com/wp-content/uploads/2017/01/lipsync.jpglipsyncCG animation model for Jabba.https://vfxblog.com/wp-content/uploads/2017/01/special-edition-jabba.jpgspecial-edition-jabbahttps://vfxblog.com/wp-content/uploads/2017/01/cwsqmvowgau7p73.jpgcwsqmvowgau7p73Steve Williams (left) and Mark Austin rehearse the Boba Fett insert shots.https://vfxblog.com/wp-content/uploads/2017/01/jabba_v3.jpgjabba_v3https://vfxblog.com/wp-content/uploads/2017/01/jabba_v2.jpgjabba_v2Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2017/01/jabba_v1.jpgjabba_v1Illustration by Aidan Roberts.2017-02-05T15:52:39+00:00monthlyhttps://vfxblog.com/2017/01/26/woh-thats-a-lot-of-powerhouse-vfx-presentations-in-one-room/https://vfxblog.com/wp-content/uploads/2017/01/12646637_1237159792965901_6861586047675644907_o.jpg12646637_1237159792965901_6861586047675644907_ohttps://vfxblog.com/wp-content/uploads/2017/01/12657911_1237160029632544_8382804905207268288_o.jpg12657911_1237160029632544_8382804905207268288_ohttps://vfxblog.com/wp-content/uploads/2017/01/12719322_1237161056299108_8499652304192660382_o.jpg12719322_1237161056299108_8499652304192660382_oCareers fair at Spark FX.2017-01-26T23:57:56+00:00monthlyhttps://vfxblog.com/2017/01/25/image-engine-over-the-years/https://vfxblog.com/wp-content/uploads/2017/01/screen-shot-2017-01-25-at-11-18-24.jpgscreen-shot-2017-01-25-at-11-18-242017-01-25T22:48:49+00:00monthlyhttps://vfxblog.com/2017/01/25/its-simple-we-need-more-women-in-vfx/2017-01-25T04:45:46+00:00monthlyhttps://vfxblog.com/2017/01/25/what-a-list-of-artists-seriously-just-look-at-these-names/https://vfxblog.com/wp-content/uploads/2017/01/screen-shot-2017-01-25-at-2-09-40-pm.jpgscreen-shot-2017-01-25-at-2-09-40-pm2017-01-25T03:11:09+00:00monthlyhttps://vfxblog.com/2017/01/22/looking-for-a-new-animated-series-to-watch-you-cant-go-past-trollhunters/https://vfxblog.com/wp-content/uploads/2017/01/trollhunters_103_r-1.jpgtrollhunters_103_r-12017-01-22T23:06:09+00:00monthlyhttps://vfxblog.com/2017/01/19/rogue-ones-random-cam-and-other-previs-fun/https://vfxblog.com/wp-content/uploads/2017/01/ttf_rogue_sdb_0150_previs.jpgttf_rogue_sdb_0150_previshttps://vfxblog.com/wp-content/uploads/2017/01/ttf_rogue_opb0675_previs.jpgttf_rogue_opb0675_previshttps://vfxblog.com/wp-content/uploads/2017/01/ttf_rogue_301_ds0030_previs.jpgttf_rogue_301_ds0030_previshttps://vfxblog.com/wp-content/uploads/2017/01/ttf_rogue_240_tt2000_previs.jpgttf_rogue_240_tt2000_previshttps://vfxblog.com/wp-content/uploads/2017/01/ttf_rogue_205_ri1854_previs.jpgttf_rogue_205_ri1854_previs2017-01-19T19:42:44+00:00monthlyhttps://vfxblog.com/2017/01/04/schirkoa-find-this-and-watch-it/https://vfxblog.com/wp-content/uploads/2017/01/schirkoa_screenshot_01.jpgschirkoa_screenshot_012017-01-17T10:44:28+00:00monthlyhttps://vfxblog.com/2016/12/13/behind-the-ilm-mars-attacks-tests-that-convinced-tim-burton-to-go-cg/https://vfxblog.com/wp-content/uploads/2016/12/marsattacks11.jpgmarsattacks11https://vfxblog.com/wp-content/uploads/2016/12/marsattacks12.jpgmarsattacks12https://vfxblog.com/wp-content/uploads/2016/12/mars_attacks_vfxblog.jpgmars_attacks_vfxbloghttps://vfxblog.com/wp-content/uploads/2016/12/marsattacks1c.pngmarsattacks1chttps://vfxblog.com/wp-content/uploads/2016/12/marsattacks1b.jpgmarsattacks1bhttps://vfxblog.com/wp-content/uploads/2016/12/marsattacks1a.jpgmarsattacks1ahttps://vfxblog.com/wp-content/uploads/2016/12/sfx.pngsfxMars Attacks!'s website from 1996 had a page dedicated to the 'Special Effects'.https://vfxblog.com/wp-content/uploads/2016/12/mars-attacks.jpgmars-attackshttps://vfxblog.com/wp-content/uploads/2016/12/easter.jpegeasterhttps://vfxblog.com/wp-content/uploads/2016/12/fx19.jpgfx192017-01-17T05:01:39+00:00monthlyhttps://vfxblog.com/2017/01/12/chris-wedge-on-monster-trucks/https://vfxblog.com/wp-content/uploads/2017/01/monstertrucks_chriswedge_main-1280x600.jpgmonstertrucks_chriswedge_main-1280x6002017-01-12T21:30:18+00:00monthlyhttps://vfxblog.com/2016/06/24/old-meets-new-the-vfx-of-independence-day-part-1/https://vfxblog.com/wp-content/uploads/2016/06/4897_1019173817822_1779472156_37045_1883506_n-copy.jpg4897_1019173817822_1779472156_37045_1883506_n copyhttps://vfxblog.com/wp-content/uploads/2016/06/id4-copy.pngID4 copyhttps://vfxblog.com/wp-content/uploads/2016/06/id4_v5.jpgID4_V5Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2016/06/img_0108_hd-copy.jpgIMG_0108_hd copyhttps://vfxblog.com/wp-content/uploads/2016/06/4897_1019173857823_1779472156_37046_3321754_n-copy.jpg4897_1019173857823_1779472156_37046_3321754_n copy2017-01-11T00:18:41+00:00monthlyhttps://vfxblog.com/2016/05/23/mission-impossible-ilms-pioneering-vfx-20-years-on/https://vfxblog.com/wp-content/uploads/2016/05/mis.jpgMIsThe Mission: Impossible spread from Masters of FX, detailing ILM and John Knoll’s work on the film, today celebrating its 20th anniversary.https://vfxblog.com/wp-content/uploads/2016/05/mi.jpgMI2017-01-11T00:18:31+00:00monthlyhttps://vfxblog.com/2016/06/24/old-meets-new-the-vfx-of-independence-day-part-2/https://vfxblog.com/wp-content/uploads/2016/06/887438_853533641434088_5284956726096621899_o.png887438_853533641434088_5284956726096621899_ohttps://vfxblog.com/wp-content/uploads/2016/06/12246785_859583170829135_3828412451135796967_n.png12246785_859583170829135_3828412451135796967_nhttps://vfxblog.com/wp-content/uploads/2016/06/12244652_856665841120868_7788672348511477054_o.png12244652_856665841120868_7788672348511477054_ohttps://vfxblog.com/wp-content/uploads/2016/06/12185476_852696568184462_5563051830047947864_o.png12185476_852696568184462_5563051830047947864_ohttps://vfxblog.com/wp-content/uploads/2016/06/id4.jpgid4https://vfxblog.com/wp-content/uploads/2016/06/idf-18_6.jpgIDF-18_6https://vfxblog.com/wp-content/uploads/2016/06/dog2a.jpgdog2ahttps://vfxblog.com/wp-content/uploads/2016/06/dog2b.jpgdog2bhttps://vfxblog.com/wp-content/uploads/2016/06/dog2c.jpgdog2chttps://vfxblog.com/wp-content/uploads/2016/06/339x1.jpg339x12017-01-11T00:17:29+00:00monthlyhttps://vfxblog.com/2016/07/03/t2-is-25-robert-skotaks-liquid-metal-effects/https://vfxblog.com/wp-content/uploads/2016/07/nuclear7.jpgNuclear7https://vfxblog.com/wp-content/uploads/2016/07/t2mercury-1.jpgT2Mercury-1https://vfxblog.com/wp-content/uploads/2016/07/t2mercury-2.jpgT2Mercury-2https://vfxblog.com/wp-content/uploads/2016/07/t2mercury-3.jpgT2Mercury-3https://vfxblog.com/wp-content/uploads/2016/07/t2mercury-4.jpgT2Mercury-4https://vfxblog.com/wp-content/uploads/2016/07/t2mercury-5.jpgT2Mercury-52017-01-11T00:16:21+00:00monthlyhttps://vfxblog.com/2016/07/04/matzo-crackers-and-cereal/https://vfxblog.com/wp-content/uploads/2016/07/terminator2_i.jpgterminator2_i2017-01-11T00:15:56+00:00monthlyhttps://vfxblog.com/2016/11/22/beauty-and-the-beast-had-a-very-cool-partly-cg-sequence-in-1991/https://vfxblog.com/wp-content/uploads/2016/11/beautybeast_ballroom_main-1280x600.jpgbeautybeast_ballroom_main-1280x6002017-01-11T00:15:19+00:00monthlyhttps://vfxblog.com/2016/05/31/the-making-of-ilms-caricature/https://vfxblog.com/wp-content/uploads/2016/05/cari.jpgcari2017-01-11T00:14:49+00:00monthlyhttps://vfxblog.com/2016/11/15/its-black-its-white/https://vfxblog.com/wp-content/uploads/2016/11/blackorwhite_main-1280x600.jpgblackorwhite_main-1280x6002017-01-11T00:14:31+00:00monthlyhttps://vfxblog.com/2016/06/21/animator-tom-st-amand-reflects-on-25-years-of-the-rocketeer/https://vfxblog.com/wp-content/uploads/2016/06/sequence1c.jpgSequence1CRoto/animation test - image courtesy of Robert Allen Rusk.https://vfxblog.com/wp-content/uploads/2016/06/poster1.jpgPosterhttps://vfxblog.com/wp-content/uploads/2016/06/bluescreen.jpgBluescreenhttps://vfxblog.com/wp-content/uploads/2016/06/dsc01805.jpgDSC01805The Rocketeer figure and armature on display at ILM.https://vfxblog.com/wp-content/uploads/2016/06/tom.jpgTomTom St Amand.https://vfxblog.com/wp-content/uploads/2016/06/rocketeer11.pngRocketeer112017-01-11T00:14:00+00:00monthlyhttps://vfxblog.com/2016/12/06/the-struggles-and-successes-of-spawn/https://vfxblog.com/wp-content/uploads/2016/12/spawn11.jpgspawn1https://vfxblog.com/wp-content/uploads/2016/12/spawn1.jpgspawnhttps://vfxblog.com/wp-content/uploads/2016/12/spawnbreakdown.jpgspawnbreakdownBreakdown of one of ILM's key scenes from the film, featuring a digital cape.https://vfxblog.com/wp-content/uploads/2016/12/spawn.jpgspawnFrom left: Steve 'Spaz' Williams, Clint Goldman (producer) and Mark Dippe.2017-01-11T00:13:54+00:00monthlyhttps://vfxblog.com/2016/11/21/lets-celebrate-the-20th-anniversary-of-this-amazing-first-contact-vfx-shot/https://vfxblog.com/wp-content/uploads/2016/11/first-contact-20.jpgfirst-contact-202017-01-11T00:13:44+00:00monthlyhttps://vfxblog.com/2016/12/08/the-story-behind-hooks-innovative-projected-matte-painting/https://vfxblog.com/wp-content/uploads/2016/12/f1d95fa90bea07cc4ee0266801953750.jpgf1d95fa90bea07cc4ee0266801953750Matte artist Yusei Uesugi at work on the Neverland painting.https://vfxblog.com/wp-content/uploads/2016/12/hook.jpghookThe final shot.2017-01-11T00:12:58+00:00monthlyhttps://vfxblog.com/2017/01/09/when-miniatures-and-cgi-met-in-the-sky-the-vfx-of-turbulence/https://vfxblog.com/wp-content/uploads/2017/01/360.jpg360The 360 gimbal.https://vfxblog.com/wp-content/uploads/2017/01/brucemacrae.jpgbrucemacraehttps://vfxblog.com/wp-content/uploads/2017/01/turb-copy.jpgturb-copyhttps://vfxblog.com/wp-content/uploads/2017/01/turb3-copy.jpgturb3-copyhttps://vfxblog.com/wp-content/uploads/2017/01/turb4-copy.jpgturb4-copyhttps://vfxblog.com/wp-content/uploads/2017/01/turb6-copy.jpgturb6-copyThe 747 under construction at Boss. Photo courtesy Berton Pierce.https://vfxblog.com/wp-content/uploads/2017/01/turb9-copy.jpgturb9-copyThe wire rig set up for Turbulence (which utilised the same model - it was re-painted and re-finished for Air Force One). See vfxblog's earlier interview with Turbulence visual effects supervisor Mark Vargo.https://vfxblog.com/wp-content/uploads/2017/01/dxkmy7.jpgTURBULENCE. Image shot 1997. Exact date unknown.A cockpit set surrounded by greenscreen for Turbulence.https://vfxblog.com/wp-content/uploads/2017/01/turb_brucemacrae.jpgturb_brucemacraeLanding gear and jeep miniature. Photo courtesy Berton Pierce. Image credit: Bruce Macrae.https://vfxblog.com/wp-content/uploads/2017/01/turb_rickhilgner.jpgturb_rickhilgner2017-01-11T00:10:49+00:00monthlyhttps://vfxblog.com/2017/01/07/the-three-big-challenges-behind-passengers-spaceship-shots/https://vfxblog.com/wp-content/uploads/2017/01/hl0035_final_cg.jpgPassengershttps://vfxblog.com/wp-content/uploads/2017/01/cr0540_final_cg.jpgPassengershttps://vfxblog.com/wp-content/uploads/2017/01/is0010_final_cg.jpgPassengershttps://vfxblog.com/wp-content/uploads/2017/01/jw0813_final_cg.jpgPassengershttps://vfxblog.com/wp-content/uploads/2017/01/sr0510_final_cg.jpgPassengershttps://vfxblog.com/wp-content/uploads/2017/01/sw0150_plate.jpgPassengershttps://vfxblog.com/wp-content/uploads/2017/01/sw0150_final.jpgPassengers2017-01-07T23:37:22+00:00monthlyhttps://vfxblog.com/2017/01/06/a-monster-calls-a-wonder-of-animation/https://vfxblog.com/wp-content/uploads/2017/01/amc_monster.jpgamc_monster2017-01-06T23:31:08+00:00monthlyhttps://vfxblog.com/2017/01/05/how-rogue-one-is-an-ode-to-the-vfx-of-the-original-trilogy/https://vfxblog.com/wp-content/uploads/2017/01/an1-274066.jpgnullRogue One: A Star Wars Story..Governor Tarkin (Guy Henry)..Photo credit: Film Frame Lucasfilm/ILM..©2016 Lucasfilm Ltd. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2017/01/cy3xi0svqaaps1e.jpgcy3xi0svqaaps1ehttps://vfxblog.com/wp-content/uploads/2017/01/an1-ff-000831.jpgan1-ff-000831https://vfxblog.com/wp-content/uploads/2017/01/an1-ff-000757.jpgan1-ff-000757https://vfxblog.com/wp-content/uploads/2017/01/sb1221_x1001_layout_shotprogress-1.jpgsb1221_x1001_layout_shotprogress-1https://vfxblog.com/wp-content/uploads/2017/01/sb1221_x1001_anim_shotprogress-7.jpgsb1221_x1001_anim_shotprogress-7https://vfxblog.com/wp-content/uploads/2017/01/ri1854_x1095_anim_shotprogress-5.jpgri1854_x1095_anim_shotprogress-5https://vfxblog.com/wp-content/uploads/2017/01/an1-ff-013.jpgnullRogue One: A Star Wars Story....Ph: Film Frame..© 2016 Lucasfilm Ltd. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2017/01/an1-ff-000363.jpgnullRogue One: A Star Wars Story..X-Wing fighters..Ph: Film Frame..© 2016 Lucasfilm Ltd. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2017/01/an1-ff-000364.jpgnullRogue One: A Star Wars Story..U-Wing..Ph: Film Frame..© 2016 Lucasfilm Ltd. All Rights Reserved.2017-01-05T21:20:28+00:00monthlyhttps://vfxblog.com/2017/01/05/vfx-trends-for-2017/https://vfxblog.com/wp-content/uploads/2017/01/beautyandthebeast.jpgbeautyandthebeast2017-01-05T04:45:53+00:00monthlyhttps://vfxblog.com/2016/11/28/indie-vfx-at-moviemaker/https://vfxblog.com/wp-content/uploads/2016/11/mm.jpgmm2017-01-04T22:49:33+00:00monthlyhttps://vfxblog.com/2017/01/03/cinesites-invisible-fx-in-assassins-creed/https://vfxblog.com/wp-content/uploads/2017/01/29a_toom_cinesitevfx___wc_049_0780__u003-1001.jpg29a_toom_cinesitevfx___wc_049_0780__u003-10012017-01-03T21:34:58+00:00monthlyhttps://vfxblog.com/2017/01/03/showcasing-luma-in-3d-artist-mag/https://vfxblog.com/wp-content/uploads/2017/01/luma.jpgluma2017-01-03T01:37:34+00:00monthlyhttps://vfxblog.com/2016/12/30/k-2so-is-the-best/https://vfxblog.com/wp-content/uploads/2016/12/rogueone-k2_main-1280x600.jpgrogueone-k2_main-1280x6002016-12-30T22:20:13+00:00monthlyhttps://vfxblog.com/2016/12/30/the-zero-g-swimming-pool/https://vfxblog.com/wp-content/uploads/2016/12/passengers_main-1280x600.jpgpassengers_main-1280x6002016-12-30T07:41:19+00:00monthlyhttps://vfxblog.com/2016/12/18/star-wars-practical-and-cg-make-up-odyssey/https://vfxblog.com/wp-content/uploads/2016/12/greedo.jpggreedo2016-12-18T07:37:26+00:00monthlyhttps://vfxblog.com/2016/12/15/star-wars-and-ilm-changed-the-way-they-make-movies-period/https://vfxblog.com/wp-content/uploads/2016/12/starwars_motioncontrol2.jpgstarwars_motioncontrol22016-12-15T20:52:56+00:00monthlyhttps://vfxblog.com/2016/12/15/new-lyft-animated-short-comes-from-great-artists/https://vfxblog.com/wp-content/uploads/2016/12/june_color3_3.jpgjune_color3_32016-12-15T20:44:30+00:00monthlyhttps://vfxblog.com/2016/12/13/miniatures-to-cg-how-rogue-one-kept-a-familiar-look/https://vfxblog.com/wp-content/uploads/2016/12/rogueone_deathstar1.jpgnullRogue One: A Star Wars Story..Death Star..Photo credit: Lucasfilm/ILM..©2016 Lucasfilm Ltd. All Rights Reserved.2016-12-13T22:25:14+00:00monthlyhttps://vfxblog.com/2016/12/12/battle-of-the-bastards-and-digital-crowds/https://vfxblog.com/wp-content/uploads/2016/12/bb_0968_0100_stills_wm-005.jpgbb_0968_0100_stills_wm-005https://vfxblog.com/wp-content/uploads/2016/12/bb_0968_0100_stills_wm-004.jpgbb_0968_0100_stills_wm-0042016-12-12T20:42:51+00:00monthlyhttps://vfxblog.com/2016/12/12/when-morphing-was-cool/https://vfxblog.com/wp-content/uploads/2016/12/morphs_captainkirk-1280x600.jpgmorphs_captainkirk-1280x6002016-12-12T04:13:27+00:00monthlyhttps://vfxblog.com/2016/12/10/rob-sitch-and-working-dogs-pacific-heat/https://vfxblog.com/wp-content/uploads/2016/12/pacificheat_main-1280x600.jpgpacificheat_main-1280x6002016-12-10T13:12:47+00:00monthlyhttps://vfxblog.com/2016/12/07/checking-in-on-virtual-filmmaking-with-dreamspace/https://vfxblog.com/wp-content/uploads/2016/12/il_0692.jpg_il_0692Volker Helzle.https://vfxblog.com/wp-content/uploads/2016/12/img_4489.jpgimg_4489The VPET (Virtual Production Editing Tool) app developed out of Dreamspace.2016-12-07T03:52:11+00:00monthlyhttps://vfxblog.com/2016/12/02/fantastic-beasts-found-on-cartoon-brew/https://vfxblog.com/wp-content/uploads/2016/12/fantasticbeasts_main-1280x600.jpgfantasticbeasts_main-1280x6002016-12-02T21:14:39+00:00monthlyhttps://vfxblog.com/2016/12/01/an-interview-with-paul-debevec/https://vfxblog.com/wp-content/uploads/2016/12/pauldebevec_main-1280x600.jpgpauldebevec_main-1280x6002016-12-01T20:43:43+00:00monthlyhttps://vfxblog.com/2016/11/26/new-pioneers-showcases-new-rigging-tools/https://vfxblog.com/wp-content/uploads/2016/11/newpioneers_main-1280x600.jpgnewpioneers_main-1280x6002016-11-26T05:52:13+00:00monthlyhttps://vfxblog.com/2016/11/25/appearing-on-cg-garage/https://vfxblog.com/wp-content/uploads/2016/11/ianfailes_01.jpgianfailes_012016-11-25T05:47:54+00:00monthlyhttps://vfxblog.com/2016/11/22/ilm-is-on-fire-with-deepwater-horizon/https://vfxblog.com/wp-content/uploads/2016/11/deepwaterhorizon.jpgdeepwaterhorizonThe Deepwater Horizon set included an almost full-sized build, along with greenscreens and a LED screen wall for interactive firelight.https://vfxblog.com/wp-content/uploads/2016/11/how0245-bg1r1-v02-src-943.jpghow0245-bg1r1-v02-src-943Original plate.https://vfxblog.com/wp-content/uploads/2016/11/how0245-comp-031766-js_v151-943.jpghow0245-comp-031766-js_v151-943Final shot.https://vfxblog.com/wp-content/uploads/2016/11/lll0098-comp-029310-smacrae_v221-1109.jpglll0098-comp-029310-smacrae_v221-1109Final shot.https://vfxblog.com/wp-content/uploads/2016/11/lll0098-bg1-v01-src-1109.jpglll0098-bg1-v01-src-1109Original plate.https://vfxblog.com/wp-content/uploads/2016/11/pgc0500-comp-019475-lvallee_v046-1084.jpgpgc0500-comp-019475-lvallee_v046-1084https://vfxblog.com/wp-content/uploads/2016/11/pgc0500-bg1-v01-src-1084.jpgpgc0500-bg1-v01-src-10842016-11-22T05:59:45+00:00monthlyhttps://vfxblog.com/2016/11/20/the-best-harry-potter-vfx-so-far/https://vfxblog.com/wp-content/uploads/2016/11/horntaildragon.jpghorntaildragonhttps://vfxblog.com/wp-content/uploads/2016/11/buckbeak.jpgbuckbeak2016-11-22T05:59:05+00:00monthlyhttps://vfxblog.com/2016/11/20/those-insane-bending-buildings/https://vfxblog.com/wp-content/uploads/2016/11/mrd2580-anim-1077.jpgmrd2580-anim-10772016-11-20T20:46:50+00:00monthlyhttps://vfxblog.com/2016/11/20/space-jams-crazy-race-to-the-end/https://vfxblog.com/wp-content/uploads/2016/11/spacejam_part3_main-1280x600.jpgspacejam_part3_main-1280x6002016-11-20T05:46:57+00:00monthlyhttps://vfxblog.com/2016/11/10/siggraph-asia-2016-preview-facial-and-speech-animation-for-vr-hmds/https://vfxblog.com/wp-content/uploads/2016/11/li_hao2.jpgli_hao2Hao Li.https://vfxblog.com/wp-content/uploads/2016/11/haoli.jpghaolihttps://vfxblog.com/wp-content/uploads/2016/11/results.jpgresultshttps://vfxblog.com/wp-content/uploads/2016/11/vr.jpgvr2016-11-18T19:54:35+00:00monthlyhttps://vfxblog.com/2016/11/17/space-jams-tech-breakthroughs/https://vfxblog.com/wp-content/uploads/2016/11/spacejam_part2_main-1280x600.jpgspacejam_part2_main-1280x6002016-11-17T00:07:30+00:00monthlyhttps://vfxblog.com/2016/11/15/why-creating-doctor-stranges-dark-dimension-was-so-damn-hard/https://vfxblog.com/wp-content/uploads/2016/11/xdd2020-1079.jpgxdd2020-1079https://vfxblog.com/wp-content/uploads/2016/11/xdd1660-1086.jpgxdd1660-1086https://vfxblog.com/wp-content/uploads/2016/11/xdd0400-1129.jpgxdd0400-1129https://vfxblog.com/wp-content/uploads/2016/11/xdd0380_comp_v022-1036_r.jpgnullMarvel's DOCTOR STRANGE..Doctor Stephen Strange (Benedict Cumberbatch)..Photo Credit: Film Frame ..©2016 Marvel. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2016/11/xdd0140-1055.jpgxdd0140-1055https://vfxblog.com/wp-content/uploads/2016/11/mmt1040-1174.jpgmmt1040-1174https://vfxblog.com/wp-content/uploads/2016/11/39c4efd952f5c74efec1f46a4e5dca07.jpg39c4efd952f5c74efec1f46a4e5dca072016-11-16T21:40:37+00:00monthlyhttps://vfxblog.com/2016/11/16/a-visual-guide-to-doctor-stranges-magical-mystery-tour/https://vfxblog.com/wp-content/uploads/2016/11/mmt1160_comp_mktcolor_v0255-marketing_2156x1212x1_vdf16-1598.jpgmmt1160_comp_mktcolor_v0255-marketing_2156x1212x1_vdf16-1598“It was a lot of work in previs, conceptualizing everything, shooting the elements, then putting it together, editing it, post-vising it, and then turning it over to Method to create the worlds, create all these environments. And Method also did a lot of work on their side creatively to help us put these things together. So it was a huge effort between everybody all led by Scott Derrickson. Scott was really into that sequence in terms of design and shot design and everything.” - overall vfx supervisor Stephane Ceretti.https://vfxblog.com/wp-content/uploads/2016/11/mmt1160_comp_mktcolor_v0255-marketing_2156x1212x1_vdf16-1530.jpgmmt1160_comp_mktcolor_v0255-marketing_2156x1212x1_vdf16-1530https://vfxblog.com/wp-content/uploads/2016/11/mmt1160_comp_mktcolor_v0255-marketing_2156x1212x1_vdf16-1206.jpgmmt1160_comp_mktcolor_v0255-marketing_2156x1212x1_vdf16-1206https://vfxblog.com/wp-content/uploads/2016/11/mmt1160_comp_mktcolor_v0255-marketing_2156x1212x1_vdf16-1112.jpgmmt1160_comp_mktcolor_v0255-marketing_2156x1212x1_vdf16-1112https://vfxblog.com/wp-content/uploads/2016/11/mmt0740_comp_mktcolor_v0169-marketing_2156x1212x1_vdf16-1174.jpgmmt0740_comp_mktcolor_v0169-marketing_2156x1212x1_vdf16-1174“Then we had to go into his eye. That means you have to find a transition to go from something that is projected into something that is full CG. And then you get the mini-Strange coming and going into the pupil as well as to transform into a tunnel with all the effects that goes around because the iris is becoming very reflective with this kind of a waterfall-like effect with a lot of energy going around. So it's all transitions, and the difficulty was we need to make from one stage to the other very smoothly.” - Method Studios vfx supervisor Olivier Dumont.https://vfxblog.com/wp-content/uploads/2016/11/mmt0720_comp_mktcolor_v0075-marketing_2156x1212x1_vdf16-1052.jpgmmt0720_comp_mktcolor_v0075-marketing_2156x1212x1_vdf16-1052“Strange is looking at his hands you see other hands coming from everywhere engulfing his body, grabbing the shirt and everything. He looks at his hands and there was a plate for that but then we had to switch it very quickly to CG in order to be able to control all the creases and the wrinkles and everything that are being caused by the hands climbing on him. And then even the face had to be redone in CG in order to get the proper expression, especially when you get into the hands when they just kind of a projection gag. It's kind of an old gag, but it's when you project something onto an object and if you project it from a certain perspective and you look from another point of view it doesn't make any sense, like, completely abstract. But as you move the camera around and emit the camera that the picture was projected from then the picture can make sense.” - Method Studios vfx supervisor Olivier Dumont.https://vfxblog.com/wp-content/uploads/2016/11/mmt0660_comp_mktcolor_v0106-marketing_2156x1212x1_vdf16-1059.jpgmmt0660_comp_mktcolor_v0106-marketing_2156x1212x1_vdf16-1059“One of the biggest challenges was visualizing some of Strange's transformations. He had to be distorted, torn apart, reassembled, duplicated and so on while interacting with the environments. We normally design and compose previs shots, so this was a much deeper dive into RnD. We tried a lot of things - deformers, particles, cheat cards, simulations, dynamics, with resources shared between The Third Floor’s Los Angeles and London crews. The sequence took six months to develop, including making sure the shots being visualized were shootable!” - The Third Floor previs and postvis supe Faraz Hameedhttps://vfxblog.com/wp-content/uploads/2016/11/mmt0620_comp_mktcolor_v0115-marketing_2156x1212x1_vdf16-1121.jpgmmt0620_comp_mktcolor_v0115-marketing_2156x1212x1_vdf16-1121“It's all formula to get this Mandelbrot looking a certain way. The problem with that is, it looks great, but it's not very controllable in terms of what type you want to achieve. It's more like a loop and then you grab the frame runs that you like. And the way we build it, it's like building the main shape of the environment and then putting on that the moving pieces that would just intersect with each other, and then adding another layer when we will have the hands coming out and blending the wall together.” - Method Studios vfx supervisor Olivier Dumont.https://vfxblog.com/wp-content/uploads/2016/11/mmt0620_comp_mktcolor_v0115-marketing_2156x1212x1_vdf16-1113.jpgmmt0620_comp_mktcolor_v0115-marketing_2156x1212x1_vdf16-1113“This one is what we call the sub-solid Mandelbrot world. We had different stories about how to explain this one until we nailed that down into having those hands climbing on him and then having this little ‘Mini-me’ into his eye. This one was more like he's getting into the fractal world with constantly moving pieces and evolving pieces around him that are made of some kind of a sand-like material. This was also a very interesting point for the story because the whole story is about his hands, how he can get his hands back after the accident.” - Method Studios vfx supervisor Olivier Dumont.https://vfxblog.com/wp-content/uploads/2016/11/mmt0620_comp_mktcolor_v0115-marketing_2156x1212x1_vdf16-1087.jpgmmt0620_comp_mktcolor_v0115-marketing_2156x1212x1_vdf16-1087“It's a sequence that is both POV of what he sees but also goes outside of him and you can see him travel through these dimensions. We had a special gimbal unit working on the side for two to three weeks to get the shot ready and we shot that in about two days with Benedict. And actually my additional supervisor Chris Shaw took care of that, preparing all that work for us. Our special effects supervisor created a system to hold Benedict in an arm, and all of that was pre-programmed with motion control and everything so that we could match the previs.” - overall vfx supervisor Stephane Ceretti.2016-11-16T06:14:40+00:00monthlyhttps://vfxblog.com/2016/11/16/howd-they-do-that-hong-kong-reverse-destruction-in-doctor-strange/https://vfxblog.com/wp-content/uploads/2016/11/drstrange_reverse.gifdrstrange_reversehttps://vfxblog.com/wp-content/uploads/2016/11/ttf_strange_hk1110_previs.jpgttf_strange_hk1110_previsPrevis by The Third Floor.https://vfxblog.com/wp-content/uploads/2016/11/hka5000-roto-1025.jpghka5000-roto-1025ILM roto pass.https://vfxblog.com/wp-content/uploads/2016/11/hka5000-layout-1025.jpghka5000-layout-1025CG layout.https://vfxblog.com/wp-content/uploads/2016/11/hka5000-comp-042698-kbradfield_v57-1025.jpghka5000-comp-042698-kbradfield_v57-1025Final shot by ILM.https://vfxblog.com/wp-content/uploads/2016/11/hka0760_comp_v003_030105-1017_r.jpgnullMarvel's DOCTOR STRANGE..Doctor Stephen Strange (Benedict Cumberbatch)..Photo Credit: Film Frame ..©2016 Marvel. All Rights Reserved.2016-11-16T06:13:55+00:00monthlyhttps://vfxblog.com/2016/11/16/jammin/https://vfxblog.com/wp-content/uploads/2016/11/spacejam_part1_main-1280x600.jpgspacejam_part1_main-1280x6002016-11-16T00:11:50+00:00monthlyhttps://vfxblog.com/2016/11/15/arrival-vfx-supe-louis-morin-breaks-down-the-films-key-shots/https://vfxblog.com/wp-content/uploads/2016/11/arrivalvfx.jpgarrivalvfxArrival vfx vendors.https://vfxblog.com/wp-content/uploads/2016/11/arrival_director.jpg"Arrival" (2016)Amy Adams with director Denis Villeneuve.https://vfxblog.com/wp-content/uploads/2016/11/058_360_comp_v044_1124_eng.jpg058_360_comp_v044_1124_engVFX by Hybride.https://vfxblog.com/wp-content/uploads/2016/11/058_290_comp_v079_1123_eng.jpg058_290_comp_v079_1123_enghttps://vfxblog.com/wp-content/uploads/2016/11/039_100_comp_v011_1123_eng.jpg039_100_comp_v011_1123_engVFX by Hybride.2016-11-15T05:43:59+00:00monthlyhttps://vfxblog.com/2016/11/11/the-language-of-arrival/https://vfxblog.com/wp-content/uploads/2016/11/arrival1.jpgarrival1Test2016-11-11T22:50:51+00:00monthlyhttps://vfxblog.com/2016/11/09/the-trip/https://vfxblog.com/wp-content/uploads/2016/11/tl-horizontal_main.jpgtl-horizontal_mainhttps://vfxblog.com/wp-content/uploads/2016/11/tmg-article_talla.jpgtmg-article_talla2016-11-09T20:59:36+00:00monthlyhttps://vfxblog.com/2016/11/07/victoria-alonso-does-sleep-a-bit/https://vfxblog.com/wp-content/uploads/2016/11/800_0844.jpg800_08442016-11-07T21:32:53+00:00monthlyhttps://vfxblog.com/2016/11/05/trolls-the-interview/https://vfxblog.com/wp-content/uploads/2016/11/trl_sq1975_s53_pub_117_f117_4k_final_rgb_fin_rgb.jpgTROLLSTRL_sq1975_s53_pub_117_f117_4K_final_RGB_FIN – Normally Zen-like Troll Creek (voiced by Russell Brand) lands in hot water in DreamWorks Animation's TROLLS. Photo Credit: DreamWorks Animation.2016-11-05T23:09:55+00:00monthlyhttps://vfxblog.com/2016/11/03/flamethrowers-right-in-your-face/https://vfxblog.com/wp-content/uploads/2016/11/the-flamethrower-in-hacksaw-ridge.jpegthe-flamethrower-in-hacksaw-ridge2016-11-03T23:32:34+00:00monthlyhttps://vfxblog.com/2016/11/02/computer-generations/https://vfxblog.com/wp-content/uploads/2016/11/anniversary_2.jpganniversary_22016-11-02T22:28:45+00:00monthlyhttps://vfxblog.com/2016/11/01/memories-of-cow-chicken-david-feiss/https://vfxblog.com/wp-content/uploads/2016/11/cowandchicken_main-1280x600.jpgcowandchicken_main-1280x6002016-11-01T19:59:18+00:00monthlyhttps://vfxblog.com/2016/10/27/stopmo-vr-phil-tippetts-mad-god-launches-into-a-new-dimension/https://vfxblog.com/wp-content/uploads/2016/10/mad-god-still-4.jpgmad-god-still-42016-10-27T14:05:58+00:00monthlyhttps://vfxblog.com/2016/10/26/picking-the-vfx-trends-is-hard/https://vfxblog.com/wp-content/uploads/2016/10/ageofultron-768x328.jpgageofultron-768x3282016-10-26T16:15:19+00:00monthlyhttps://vfxblog.com/2016/10/26/could-these-be-the-contenders/https://vfxblog.com/wp-content/uploads/2016/10/vfxoscars_main-1280x600.jpgvfxoscars_main-1280x6002016-10-26T16:11:17+00:00monthlyhttps://vfxblog.com/2016/10/20/a-view-conference-primer/https://vfxblog.com/wp-content/uploads/2016/10/img_6042.jpgimg_60422016-10-20T03:58:32+00:00monthlyhttps://vfxblog.com/2016/10/19/run-with-it-designing-a-huge-vfx-sequence/https://vfxblog.com/wp-content/uploads/2016/10/mia.jpgmiaMia Wasikowska.https://vfxblog.com/wp-content/uploads/2016/10/oceansoftime.jpgoceansoftimehttps://vfxblog.com/wp-content/uploads/2016/10/fig6.jpgfig6Layout of barrel wave and surrounding ocean versus sub-surface shaded render (from 'Cross Departmental Collaboration for FX-driven Animation in 'Alice Through the Looking Glass', DigiPro 2016).https://vfxblog.com/wp-content/uploads/2016/10/fig4.jpgfig4Animation of Jabberwocky wave using tile and Wave Deformer, and then simulated FX Interaction. (from 'Cross Departmental Collaboration for FX-driven Animation in 'Alice Through the Looking Glass', DigiPro 2016).https://vfxblog.com/wp-content/uploads/2016/10/alice_halon_06.jpgalice_halon_06Postvis by Halon.https://vfxblog.com/wp-content/uploads/2016/10/alice_halon_03.jpgalice_halon_03https://vfxblog.com/wp-content/uploads/2016/10/bio_jayredd.jpgbio_jayredd2016-10-19T03:33:27+00:00monthlyhttps://vfxblog.com/2016/10/17/quick-guide-to-the-view-keynotes/2016-10-19T03:30:48+00:00monthlyhttps://vfxblog.com/2016/10/17/westworlds-out-there-vfx/https://vfxblog.com/wp-content/uploads/2016/10/westworld.jpgwestworld2016-10-17T20:24:36+00:00monthlyhttps://vfxblog.com/2016/10/14/dream-interview-steve-williams-mark-dippe/https://vfxblog.com/wp-content/uploads/2016/10/dsc02327.jpgdsc02327https://vfxblog.com/wp-content/uploads/2016/10/dippewilliams_main-1280x600.jpgdippewilliams_main-1280x6002016-10-14T22:01:28+00:00monthlyhttps://vfxblog.com/2016/10/14/a-short-retrospective-in-godzilla-vfx/https://vfxblog.com/wp-content/uploads/2016/10/godzilla_exhibition1.jpgJAPAN-CULTURE-GODZILLAPeople try to take pictures of Godzilla at the Godzilla exhibition in Yokohama, suburb of Tokyo, to promote latest movie of the monster released in July on August 17, 2016. The exhibition will last until September 4. / AFP PHOTO / TORU YAMANAKA2016-10-14T21:51:15+00:00monthlyhttps://vfxblog.com/2016/10/12/ben-wests-latest-short-has-legs/https://vfxblog.com/wp-content/uploads/2016/10/oth_screenshot_07.jpgoth_screenshot_07https://vfxblog.com/wp-content/uploads/2016/10/oth_screenshot_01.jpgoth_screenshot_01https://vfxblog.com/wp-content/uploads/2016/10/otherhalf_bts00008.jpgotherhalf_bts00008https://vfxblog.com/wp-content/uploads/2016/10/otherhalf_bts00007.jpgotherhalf_bts00007https://vfxblog.com/wp-content/uploads/2016/10/otherhalf_bts00002.jpgotherhalf_bts00002https://vfxblog.com/wp-content/uploads/2016/10/otherhalf_bts00001.jpgotherhalf_bts00001https://vfxblog.com/wp-content/uploads/2016/10/oth_screenshot_08.pngoth_screenshot_08https://vfxblog.com/wp-content/uploads/2016/10/oth_screenshot_07.pngoth_screenshot_07https://vfxblog.com/wp-content/uploads/2016/10/oth_screenshot_06.pngoth_screenshot_06https://vfxblog.com/wp-content/uploads/2016/10/oth_screenshot_05.pngoth_screenshot_052016-10-12T23:02:19+00:00monthlyhttps://vfxblog.com/2016/10/12/vr-for-theme-parks-its-happening/https://vfxblog.com/wp-content/uploads/2016/10/spaces_main-1280x600.jpgspaces_main-1280x6002016-10-12T20:53:55+00:00monthlyhttps://vfxblog.com/2016/10/09/movie-that-we-saved-by-special-effects/https://vfxblog.com/wp-content/uploads/2016/10/deadpool.jpgdeadpool2016-10-12T20:51:43+00:00monthlyhttps://vfxblog.com/2016/10/04/come-for-view-stay-for-the-workshops/https://vfxblog.com/wp-content/uploads/2016/10/view_comp_2016_001.jpgview_comp_2016_0012016-10-09T04:42:04+00:00monthlyhttps://vfxblog.com/2016/10/09/voyage-of-cloud-tanks-and-practical-fx/https://vfxblog.com/wp-content/uploads/2016/10/voyageoftime_practical1.jpgvoyageoftime_practical12016-10-09T04:40:31+00:00monthlyhttps://vfxblog.com/2016/10/05/no-im-not-crying/https://vfxblog.com/wp-content/uploads/2016/10/moom_newtrailer-1280x600.jpgmoom_newtrailer-1280x6002016-10-05T21:04:13+00:00monthlyhttps://vfxblog.com/2016/10/03/when-skeletons-attack/https://vfxblog.com/wp-content/uploads/2016/10/mph_skeleton_gentleman_v004.jpgmph_skeleton_gentleman_v0042016-10-03T22:22:06+00:00monthlyhttps://vfxblog.com/2016/09/29/style-frames-2016-is-close-and-has-the-big-studios-in-design/https://vfxblog.com/wp-content/uploads/2016/09/deadpool_vfxprocess_02b.jpgdeadpool_vfxprocess_02bFrank Balson from Blur is presenting at STYLE FRAMES. He helped make that crazy Deadpool opening sequence.https://vfxblog.com/wp-content/uploads/2016/09/sfny-vinicius-costa-on-stage.jpgsfny-vinicius-costa-on-stage2016-09-30T11:33:26+00:00monthlyhttps://vfxblog.com/2016/09/29/beetlejuice-was-just-the-beginning/https://vfxblog.com/wp-content/uploads/2016/09/timburton_aliceinwonderland.jpgtimburton_aliceinwonderland2016-09-29T09:40:56+00:00monthlyhttps://vfxblog.com/2016/09/28/the-vfx-supe-who-doesnt-really-think-about-vfx-and-how-you-can-learn-from-him/https://vfxblog.com/wp-content/uploads/2016/09/roblegato4.jpgroblegato4From left: Director Martin Scorsese, cinematographer Robert Richardson and visual effects supervisor Robert Legato on the set of Hugo.https://vfxblog.com/wp-content/uploads/2016/09/roblegato3.jpgroblegato3https://vfxblog.com/wp-content/uploads/2016/09/roblegato1.jpgroblegato12016-09-28T07:52:58+00:00monthlyhttps://vfxblog.com/2016/09/27/the-kills-of-the-walking-dead/https://vfxblog.com/wp-content/uploads/2016/09/aq_-u8j.jpgaq_-u8j2016-09-27T23:20:28+00:00monthlyhttps://vfxblog.com/2016/09/27/chicken-kung-fu/https://vfxblog.com/wp-content/uploads/2016/09/njg-mstr-0001.jpgTHE MASTER2016-09-27T20:26:48+00:00monthlyhttps://vfxblog.com/2016/09/27/brenda-chapman-on-life-after-pixar/https://vfxblog.com/wp-content/uploads/2016/09/brendachapman_main-1280x600.jpgbrendachapman_main-1280x6002016-09-27T04:24:13+00:00monthlyhttps://vfxblog.com/2016/09/24/doug-chiangs-4-principles-of-star-wars-design/https://vfxblog.com/wp-content/uploads/2016/09/img_3286.jpgimg_3286https://vfxblog.com/wp-content/uploads/2016/09/img_3283.jpgimg_3283https://vfxblog.com/wp-content/uploads/2016/09/img_3282.jpgimg_3282https://vfxblog.com/wp-content/uploads/2016/09/21.jpg2https://vfxblog.com/wp-content/uploads/2016/09/img_3279.jpgimg_3279https://vfxblog.com/wp-content/uploads/2016/09/11.jpg1https://vfxblog.com/wp-content/uploads/2016/09/img_3278.jpgimg_3278https://vfxblog.com/wp-content/uploads/2016/09/img_3277.jpgimg_3277https://vfxblog.com/wp-content/uploads/2016/09/img_3276.jpgimg_3276https://vfxblog.com/wp-content/uploads/2016/09/img_3275.jpgimg_32752016-09-24T09:25:45+00:00monthlyhttps://vfxblog.com/2016/09/23/wolf-pack-wonderment/https://vfxblog.com/wp-content/uploads/2016/09/storks_main-1280x600.jpgstorks_main-1280x6002016-09-23T15:19:17+00:00monthlyhttps://vfxblog.com/2016/01/24/masters-of-fx-2/https://vfxblog.com/wp-content/uploads/2016/01/starshiptroopers.jpgStarshipTroopersA sample page from Masters of FX featuring Phil Tippett's work for Starship Troopers.2016-09-23T15:17:32+00:00monthlyhttps://vfxblog.com/2016/09/16/review-inside-vfx/https://vfxblog.com/wp-content/uploads/2016/09/insidevfx_main-1280x600.jpginsidevfx_main-1280x6002016-09-16T05:57:37+00:00monthlyhttps://vfxblog.com/2016/09/12/big-directors-and-vr/https://vfxblog.com/wp-content/uploads/2016/09/goblin_head_sketch-1024x638.jpggoblin_head_sketch-1024x6382016-09-12T22:48:50+00:00monthlyhttps://vfxblog.com/2016/09/10/spike-gets-it/https://vfxblog.com/wp-content/uploads/2016/09/margaret-qualley-in-a-mirror-shot-from-the-ad-sans-camera-and-crew.jpegmargaret-qualley-in-a-mirror-shot-from-the-ad-sans-camera-and-crew2016-09-10T00:36:32+00:00monthlyhttps://vfxblog.com/2016/09/07/latest-3d-artist-mag-pieces/https://vfxblog.com/wp-content/uploads/2016/09/2.jpg2https://vfxblog.com/wp-content/uploads/2016/09/1.jpg12016-09-07T21:14:22+00:00monthlyhttps://vfxblog.com/2016/09/06/how-good-is-vfx-on-tv-right-now/https://vfxblog.com/wp-content/uploads/2016/09/gameofthrones.jpggameofthroneshttps://vfxblog.com/wp-content/uploads/2016/09/bettercallsaul.jpgbettercallsaul2016-09-06T22:23:46+00:00monthlyhttps://vfxblog.com/2016/09/01/when-you-want-to-know-how-it-was-made/https://vfxblog.com/wp-content/uploads/2016/09/img_6032.jpgIMG_6032https://vfxblog.com/wp-content/uploads/2016/09/img_6031.jpgIMG_6031Last year, The Little Prince director Mark Osborne was one of the speakers. He talked about his film and how it was made with stop-motion and CG animation. But what also talked about was how he has carved out a career in animation, what struggles he faced and what advice he would give to new people in the industry. It was one of the best industry talks I've ever seen.2016-09-06T22:22:31+00:00monthlyhttps://vfxblog.com/2016/09/02/fractals-and-xbox-mocap/https://vfxblog.com/wp-content/uploads/2016/09/enchantress_breakdown2.jpggb0140_comp_breakdown_final.1052.tif2016-09-02T20:30:13+00:00monthlyhttps://vfxblog.com/2016/09/01/storytelling-details/https://vfxblog.com/wp-content/uploads/2016/09/techanimhair_01a_logo.jpgtechanimhair_01a_logo2016-09-01T21:35:10+00:00monthlyhttps://vfxblog.com/2016/08/30/houdini-in-tvcs/https://vfxblog.com/wp-content/uploads/2016/08/pyro_sim.jpgpyro_sim2016-08-30T22:45:27+00:00monthlyhttps://vfxblog.com/2016/08/29/bark-like-a-dog-and-other-director-advice/https://vfxblog.com/wp-content/uploads/2016/08/meninblack.jpgMenInBlack2016-08-30T01:34:38+00:00monthlyhttps://vfxblog.com/2016/08/29/upupvfx/https://vfxblog.com/wp-content/uploads/2016/08/coldplay.jpgCOLDPLAY2016-08-29T08:03:26+00:00monthlyhttps://vfxblog.com/2016/08/25/seeing-more/https://vfxblog.com/wp-content/uploads/2016/08/hills.jpgHillshttps://vfxblog.com/wp-content/uploads/2016/08/mountains.jpgMountainshttps://vfxblog.com/wp-content/uploads/2016/08/city-people-street-walking.jpgcity-people-street-walkinghttps://vfxblog.com/wp-content/uploads/2016/08/mountain-landscape-near-turin-italy.jpgmountain-landscape-near-turin-italyhttps://vfxblog.com/wp-content/uploads/2016/08/turin_monte_cappuccini.jpgTurin_monte_cappuccinihttps://vfxblog.com/wp-content/uploads/2016/08/10293710_10153599521733257_1171513282049959352_o.jpg10293710_10153599521733257_1171513282049959352_ohttps://vfxblog.com/wp-content/uploads/2016/08/12139989_10153596275268257_2151621718388367908_o.jpg12139989_10153596275268257_2151621718388367908_oPhoto by Michael Rubin.2016-08-29T04:37:13+00:00monthlyhttps://vfxblog.com/2016/08/25/going-back-to-the-early-days-of-weta/https://vfxblog.com/wp-content/uploads/2016/08/reaper-frighteners.jpgreaper-frighteners2016-08-25T22:21:09+00:00monthlyhttps://vfxblog.com/2016/08/23/ok-what-is-this-megascans-thing/https://vfxblog.com/wp-content/uploads/2016/08/software_megascans_mixer.jpgSoftware_Megascans_Mixerhttps://vfxblog.com/wp-content/uploads/2016/08/software_megascans_bridge.jpgSoftware_Megascans_Bridgehttps://vfxblog.com/wp-content/uploads/2016/08/site_megascans_customization.jpgSite_Megascans_Customizationhttps://vfxblog.com/wp-content/uploads/2016/08/site_megascans_browser.jpgSite_Megascans_Browserhttps://vfxblog.com/wp-content/uploads/2016/08/projects_unity_adam.jpgProjects_Unity_AdamMegascans was also utilized on the Unity project, Adam.https://vfxblog.com/wp-content/uploads/2016/08/projects_mpc_thejunglebook.jpgTHE JUNGLE BOOKTHE JUNGLE BOOK - (L-R) MOWGLI and BAGHEERA. ©2016 Disney Enterprises, Inc. All Rights Reserved.https://vfxblog.com/wp-content/uploads/2016/08/megascans_wasteland.jpgMegascans_Wastelandhttps://vfxblog.com/wp-content/uploads/2016/08/megascans_topdown.jpgMegascans_TopDownhttps://vfxblog.com/wp-content/uploads/2016/08/megascans_mountainslope02.jpgMegascans_MountainSlope02https://vfxblog.com/wp-content/uploads/2016/08/megascans_mountainslope01.jpgMegascans_MountainSlope012016-08-23T20:39:45+00:00monthlyhttps://vfxblog.com/2016/08/23/houdini-so-hot-right-now/https://vfxblog.com/wp-content/uploads/2016/08/digitaldomain_x-men_apocalypse_2.jpgdigitaldomain_x-men_apocalypse_(2)2016-08-23T00:14:18+00:00monthlyhttps://vfxblog.com/2016/08/23/stop-stop-motion/https://vfxblog.com/wp-content/uploads/2016/08/a-stop-motion-skeleton-puppet-for-kubo-is-captured-with-a-digital-slr-camera-and-stop-motion.jpega-stop-motion-skeleton-puppet-for-kubo-is-captured-with-a-digital-slr-camera-and-stop-motion2016-08-23T00:11:46+00:00monthlyhttps://vfxblog.com/2016/08/22/from-20-years-ago-dr-moreau/2016-08-22T07:22:35+00:00monthlyhttps://vfxblog.com/2016/08/21/it-seemed-insane-so-of-course-we-did-it/https://vfxblog.com/wp-content/uploads/2016/08/hallofbones-photo-jleonhardt-0020.jpgKUBO AND THE TWO STRINGShallofbones.photo.jleonhardt.0020 Set Dresser Andy Berry works on the massive Hall of Bones Skeleton puppet for animation studio LAIKA’s epic action-adventure KUBO AND THE TWO STRINGS, a Focus Features release. Credit: John Leonhardt | Laika Studios / Focus Features2016-08-21T00:23:04+00:00monthlyhttps://vfxblog.com/2016/08/20/vfxondvd-warcraft/https://vfxblog.com/wp-content/uploads/2016/08/warcraft.jpgwarcraft2016-08-20T04:32:15+00:00monthlyhttps://vfxblog.com/2016/08/17/the-stuff-you-see-at-siggraph-often-becomes-real-tools-one-day/https://vfxblog.com/wp-content/uploads/2016/08/stylit_main-1280x600.jpgstylit_main-1280x6002016-08-17T21:19:36+00:00monthlyhttps://vfxblog.com/2016/08/16/facial-tracking-and-ar-about-to-get-even-more-friendly/https://vfxblog.com/wp-content/uploads/2016/08/pinscreen_screenshot1.jpgPinscreen_screenshot12016-08-16T21:09:54+00:00monthlyhttps://vfxblog.com/2016/08/15/it-takes-an-army-at-weta-digital/https://vfxblog.com/wp-content/uploads/2016/08/petesdragon.jpgPetesDragon2016-08-15T20:13:06+00:00monthlyhttps://vfxblog.com/2016/08/15/dragons-in-vfx-extended-interviews/https://vfxblog.com/wp-content/uploads/2016/08/dragons.jpgDragonshttps://vfxblog.com/wp-content/uploads/2016/08/gameofthrones.jpgGameofThroneshttps://vfxblog.com/wp-content/uploads/2016/08/reignoffire.pngReignofFirehttps://vfxblog.com/wp-content/uploads/2016/08/dragonslayer0211.jpgDragonSlayer021https://vfxblog.com/wp-content/uploads/2016/08/dragonslayer0191.jpgDragonSlayer019https://vfxblog.com/wp-content/uploads/2016/08/dragonslayer0181.jpgDragonSlayer018https://vfxblog.com/wp-content/uploads/2016/08/dragonslayer0351.jpgDragonSlayer035https://vfxblog.com/wp-content/uploads/2016/08/dragonslayer0271.jpgDragonSlayer027https://vfxblog.com/wp-content/uploads/2016/08/dragonslayer0251.jpgDragonSlayer025https://vfxblog.com/wp-content/uploads/2016/08/dragonslayer0241.jpgDragonSlayer0242016-08-15T06:10:58+00:00monthlyhttps://vfxblog.com/2016/08/13/nitrogen-the-studio-behind-sausage-party/https://vfxblog.com/wp-content/uploads/2016/08/sp-pk-02_gbg_s0175_final_v18-1050.jpg949846 - SAUSAGE PARTYPotatoe (Greg Tiernan) in Columbia Pictures' SAUSAGE PARTY.https://vfxblog.com/wp-content/uploads/2016/08/download.jpegdownload2016-08-13T02:16:51+00:00monthlyhttps://vfxblog.com/2016/08/12/how-to-make-your-dragon/https://vfxblog.com/wp-content/uploads/2016/08/dragonslayer.jpgDragonslayer2016-08-12T21:33:34+00:00monthlyhttps://vfxblog.com/2016/08/11/off-the-wall-with-the-makers-of-cinesync-and-frankie/https://vfxblog.com/wp-content/uploads/2016/08/cospective.jpgcospectivehttps://vfxblog.com/wp-content/uploads/2016/08/rory-das-boot.jpgRory Das Boothttps://vfxblog.com/wp-content/uploads/2016/08/rolly-wolverine.jpgRolly Wolverinehttps://vfxblog.com/wp-content/uploads/2016/08/robby-mad-max.jpgRobby Mad Maxhttps://vfxblog.com/wp-content/uploads/2016/08/neil-star-wars.jpgNeil Star Wars2016-08-11T21:18:32+00:00monthlyhttps://vfxblog.com/2016/08/10/new-issue-of-3d-artist/https://vfxblog.com/wp-content/uploads/2016/08/screen-shot-2016-08-09-at-15-45-26.jpgScreen-Shot-2016-08-09-at-15.45.26https://vfxblog.com/wp-content/uploads/2016/08/screen-shot-2016-08-09-at-15-48-13.jpgScreen-Shot-2016-08-09-at-15.48.132016-08-10T09:30:13+00:00monthlyhttps://vfxblog.com/2016/08/09/corel-painter-brings-back-great-memories/https://vfxblog.com/wp-content/uploads/2016/08/corelpainter.jpgCorelPainter2016-08-09T22:15:38+00:00monthlyhttps://vfxblog.com/2016/08/09/methods/https://vfxblog.com/wp-content/uploads/2016/08/spo270_.jpgspo270_2016-08-09T19:42:14+00:00monthlyhttps://vfxblog.com/2016/08/07/massives-stephen-regelous-on-future-ai-competition-and-a-massive-app/https://vfxblog.com/wp-content/uploads/2016/08/massive-new_agent_fashion7961.jpgmassive-new_agent_fashion7961https://vfxblog.com/wp-content/uploads/2016/08/massive-agents-variations.jpgmassive-agents-variationshttps://vfxblog.com/wp-content/uploads/2016/08/massive-parts.jpgmassive-partshttps://vfxblog.com/wp-content/uploads/2016/08/massive-parts-birds.jpgmassive-parts-birdshttps://vfxblog.com/wp-content/uploads/2016/08/directable.jpgdirectablehttps://vfxblog.com/wp-content/uploads/2016/08/wcm-rtr-agents.jpgwcm-rtr-agents2016-08-09T04:15:58+00:00monthlyhttps://vfxblog.com/2016/08/08/the-best-of-siggraph/https://vfxblog.com/wp-content/uploads/2016/08/synaesthesia.jpgsynaesthesia2016-08-08T10:09:24+00:00monthlyhttps://vfxblog.com/2016/08/05/the-little-prince-an-interesting-cg-and-stop-motion-mix/https://vfxblog.com/wp-content/uploads/2016/08/littleprince_1280x600.jpglittleprince_1280x6002016-08-05T22:16:15+00:00monthlyhttps://vfxblog.com/2016/08/05/a-new-trend/2016-08-05T07:07:19+00:00monthlyhttps://vfxblog.com/2016/08/05/nice-view/https://vfxblog.com/wp-content/uploads/2016/08/animation-compsition.jpganimation-compsition2016-08-05T06:58:51+00:00monthlyhttps://vfxblog.com/2016/08/04/its-hard-to-say-what-the-best-got-scenes-are/https://vfxblog.com/wp-content/uploads/2016/08/dragonstuffie.jpgDragonStuffie2016-08-04T08:00:31+00:00monthlyhttps://vfxblog.com/2016/08/03/summer-films-image-makers/https://vfxblog.com/wp-content/uploads/2016/08/james.jpgjames2016-08-03T05:38:52+00:00monthlyhttps://vfxblog.com/2016/08/01/andres-menza-and-thu/https://vfxblog.com/wp-content/uploads/2016/08/captura_de_ecracc83_2016-07-29__acc80s_23-10-41.pngCaptura_de_ecrã_2016-07-29__às_23.10.412016-08-01T04:37:17+00:00monthlyhttps://vfxblog.com/2016/07/30/making-a-non-pixar-film-at-pixar/https://vfxblog.com/wp-content/uploads/2016/07/1025294-borrowedtime-03.jpg1025294-borrowedtime-03https://vfxblog.com/wp-content/uploads/2016/07/download1.jpegdownloadhttps://vfxblog.com/wp-content/uploads/2016/07/borrowedtime_c.jpgborrowedtime_c2016-08-01T04:35:05+00:00monthlyhttps://vfxblog.com/2016/07/26/a-new-term-meg-halation/https://vfxblog.com/wp-content/uploads/2016/07/trek1.jpgtrek12016-07-26T15:52:17+00:00monthlyhttps://vfxblog.com/2016/07/26/a-new-masters-of-fx-review/https://vfxblog.com/wp-content/uploads/2016/07/cojg3gzuaaaaosf.jpgCoJg3GZUAAAAosF2016-07-26T02:33:56+00:00monthlyhttps://vfxblog.com/2016/07/25/trek-moved-vfx-history-a-long-way/https://vfxblog.com/wp-content/uploads/2016/07/genesis1.jpgGenesis12016-07-25T19:45:26+00:00monthlyhttps://vfxblog.com/2016/07/24/a-new-thu-tale/https://vfxblog.com/wp-content/uploads/2016/07/efflam_the_fall_of_iscandur.jpgEfflam_The_fall_of_Iscandur2016-07-24T15:08:30+00:00monthlyhttps://vfxblog.com/2016/07/23/proton-pack-beam-curves/https://vfxblog.com/wp-content/uploads/2016/07/df05651_rv11.jpgMelissa McCarthy;Kristen Wiig;Kate McKinnon;Leslie JonesThe Ghostbusters Abby (Melissa McCarthy), Holtzmann (Kate McKinnon), Erin (Kristen Wiig) and Patty (Leslie Jones) in Columbia Pictures' GHOSTBUSTERS.https://vfxblog.com/wp-content/uploads/2016/07/download.jpegdownload2016-07-24T15:06:32+00:00monthlyhttps://vfxblog.com/2016/07/21/i-literally-cannot-wait-for-siggraph/https://vfxblog.com/wp-content/uploads/2016/07/siggraph2016main-1280x600.jpgsiggraph2016main-1280x6002016-07-21T22:11:01+00:00monthlyhttps://vfxblog.com/2016/07/20/you-know-theyre-in-there-but-not-how-they-were-done/https://vfxblog.com/wp-content/uploads/2016/07/12-1374323891.gif12-13743238912016-07-20T21:12:25+00:00monthlyhttps://vfxblog.com/2016/07/20/when-you-crave-creative-content/https://vfxblog.com/wp-content/uploads/2016/07/thu_talk_shane_mahan.jpgTHU_Talk_Shane_MahanLegacy Effects' Shane Mahan was a highlight last year at Trojan Horse. Photo by Tiago Sousa - You are live.https://vfxblog.com/wp-content/uploads/2016/07/thutv_1.jpgTHUTV_1Photo by Tiago Sousa - You are live.https://vfxblog.com/wp-content/uploads/2016/07/thu_jeremy_mann_livedemo1.jpgTHU_Jeremy_Mann_LiveDemo1Photo by Other Features.2016-07-20T10:09:19+00:00monthlyhttps://vfxblog.com/2016/07/19/return-of-the-slimer/https://vfxblog.com/wp-content/uploads/2016/07/ny0610compstillv124kalxxtsrgb161017finaljpg.jpegny0610compstillv124kalxxtsrgb161017finaljpg2016-07-19T12:14:23+00:00monthlyhttps://vfxblog.com/2016/07/18/victor-hugo-and-the-power-of-thu/https://vfxblog.com/wp-content/uploads/2016/07/wire.jpgwire2016-07-18T10:12:37+00:00monthlyhttps://vfxblog.com/2016/07/16/who-ya-gonna-call-to-do-vfx/https://vfxblog.com/wp-content/uploads/2016/07/ghost.jpgghostA page from Masters of FX.https://vfxblog.com/wp-content/uploads/2016/07/ghb-re-onionheadshoot-0026_hires-1.jpgGHB-RE-OnionheadShoot-0026_HIRES (1)John Bruno (far left) examines the Onion Head puppet used in Ghostbusters.2016-07-16T15:30:04+00:00monthlyhttps://vfxblog.com/2016/07/15/john-knolls-death-star-hobby-project-because-well-hes-john-knoll/https://vfxblog.com/wp-content/uploads/2016/07/image3.jpgimage3An image taken by Raymond Gangstad at Star Wars Celebration Europe 2016.https://vfxblog.com/wp-content/uploads/2016/07/newgraphic1.jpgNewGraphic1https://vfxblog.com/wp-content/uploads/2016/07/newgraphic2.jpgNewGraphic2https://vfxblog.com/wp-content/uploads/2016/07/trench2.jpgTrench2"Ever wonder what the trench run looks like from the side, there it is," stated Knoll. "That’s how much trench we fly through.”https://vfxblog.com/wp-content/uploads/2016/07/graphicsidebyside.jpgGraphicsidebysideSide-by-side.https://vfxblog.com/wp-content/uploads/2016/07/newtiles.jpgNewtiles"I made a whole bunch of individual tiles and animated my own version of graphic, using the one from the film to get all the camera angles and proportions exactly right," said Knoll.https://vfxblog.com/wp-content/uploads/2016/07/newgraphic3.jpgNewGraphic3 I made a whole bunch of individual tiles and animated my own version of graphic, using the one from the film to get all the camera angles and proportions exactly right.https://vfxblog.com/wp-content/uploads/2016/07/originalgraphic1.jpgOriginalGraphic1https://vfxblog.com/wp-content/uploads/2016/07/originalgraphic2.jpgOriginalGraphic2Larry Cuba's graphics for the Death Star plans under construction.https://vfxblog.com/wp-content/uploads/2016/07/originalgraphic_demo.jpgOriginalGraphic_demoThe demo video.2016-07-16T13:46:11+00:00monthlyhttps://vfxblog.com/2016/07/15/shark/https://vfxblog.com/wp-content/uploads/2016/07/lively1.jpgLively12016-07-15T09:53:08+00:00monthlyhttps://vfxblog.com/2016/07/13/blender-blender-blender/https://vfxblog.com/wp-content/uploads/2016/07/cnptvfkwaaafo_t.jpgCnPTvFKWAAAFo_T2016-07-13T14:40:42+00:00monthlyhttps://vfxblog.com/2016/07/12/an-ape-film-with-no-mocap/https://vfxblog.com/wp-content/uploads/2016/07/tarzan1.jpgTarzan12016-07-12T04:54:42+00:00monthlyhttps://vfxblog.com/2016/07/11/what-happens-when-it-all-ends/https://vfxblog.com/wp-content/uploads/2016/07/aftertheend_a.jpgaftertheend_a2016-07-11T19:12:38+00:00monthlyhttps://vfxblog.com/2016/07/10/resurgence-visions/https://vfxblog.com/wp-content/uploads/2016/07/id2_r51_164_0020_comp_v0007_wm-01025.jpgID2_R51_164_0020_comp_v0007_WM.01025https://vfxblog.com/wp-content/uploads/2016/07/id2_r51_164_0020_plate_v0001_wm-01025.jpgID2_R51_164_0020_plate_v0001_WM.01025https://vfxblog.com/wp-content/uploads/2016/07/id2_r51_225_0580_comp_v0020_wm-01180.jpgID2_R51_225_0580_comp_v0020_WM.01180https://vfxblog.com/wp-content/uploads/2016/07/id2_lun_059_0008_comp_v0012_wm-01144.jpgID2_LUN_059_0008_comp_v0012_WM.01144https://vfxblog.com/wp-content/uploads/2016/07/2016-02-02_independence-day-resurgence_portfolio-pdf-pages_0042_43_wm.jpg2016-02-02_Independence day-Resurgence_portfolio.pdf-pages_0042_43_WMhttps://vfxblog.com/wp-content/uploads/2016/07/2016-02-02_independence-day-resurgence_portfolio-pdf-pages_0011_12_wm.jpg2016-02-02_Independence day-Resurgence_portfolio.pdf-pages_0011_12_WMTrixter concept.https://vfxblog.com/wp-content/uploads/2016/07/2016-02-02_independence-day-resurgence_portfolio-pdf-pages_0009_10_wm.jpg2016-02-02_Independence day-Resurgence_portfolio.pdf-pages_0009_10_WMTrixter concept.https://vfxblog.com/wp-content/uploads/2016/07/hos_151_0010_comp_dailies_v0097-cr-1154.jpgHOS_151_0010_comp_dailies_v0097.cr.1154The final shot by Scanline.https://vfxblog.com/wp-content/uploads/2016/07/fis_144_0010_comp_dailies_v0180-cr-1113.jpgFIS_144_0010_comp_dailies_v0180.cr.1113The final shot by Scanline.https://vfxblog.com/wp-content/uploads/2016/07/id2_r51_164_0020_plate_v0001-01025.jpgID2_R51_164_0020_plate_v0001.01025Original plate.2016-07-11T11:46:30+00:00monthlyhttps://vfxblog.com/2016/06/14/its-complicated/https://vfxblog.com/wp-content/uploads/2016/06/therevenant_bear.jpgThe Revenant (2015)The Revenant (2015)2016-07-08T15:58:50+00:00monthlyhttps://vfxblog.com/2016/07/08/explosion-time/https://vfxblog.com/wp-content/uploads/2016/07/explosions.jpgexplosions2016-07-08T15:48:59+00:00monthlyhttps://vfxblog.com/2016/07/07/vfx-supes-talk-resurgence/https://vfxblog.com/wp-content/uploads/2016/07/id2_sin_131_0100_ref_still-comp-01201_v0023.jpgID2_SIN_131_0100_ref_still-comp-01201_v00232016-07-07T16:50:20+00:00monthlyhttps://vfxblog.com/2016/06/29/volker-engel-on-independence-day-resurgence/https://vfxblog.com/wp-content/uploads/2016/06/1-1-queen-ground-interaction-sim.jpg1.1 Queen ground interaction simhttps://vfxblog.com/wp-content/uploads/2016/06/1-3-final.jpg1.3 Finalhttps://vfxblog.com/wp-content/uploads/2016/06/id2_ums_133_0460_ref_still-comp-01094_v0016.jpgID2_UMS_133_0460_ref_still-comp-01094_v0016https://vfxblog.com/wp-content/uploads/2016/06/id2_tr1_000_0280_ref_still-comp-01016_v0015r.jpgID2_TR1_000_0280_ref_still-comp-01016_v0015rhttps://vfxblog.com/wp-content/uploads/2016/06/id2_tr1_000_0110_ref_still-comp-01048_v0014.jpgID2_TR1_000_0110_ref_still-comp-01048_v0014https://vfxblog.com/wp-content/uploads/2016/06/id2_tr1_000_0160_ref_still-comp-01022_v0289r.jpgID2_TR1_000_0160_ref_still-comp-01022_v0289rhttps://vfxblog.com/wp-content/uploads/2016/06/id2_sin_131_0100_ref_still-comp-01201_v0023.jpgID2_SIN_131_0100_ref_still-comp-01201_v0023https://vfxblog.com/wp-content/uploads/2016/06/id2_can_020_0340_ref_still-comp-01013_v0174.jpgID2_CAN_020_0340_ref_still-comp-01013_v0174https://vfxblog.com/wp-content/uploads/2016/06/id2_afr_010_0400_ref_still-comp-01198_v0013.jpgID2_AFR_010_0400_ref_still-comp-01198_v0013https://vfxblog.com/wp-content/uploads/2016/06/idr_fol-217-0220_promo_v0002-1117.jpgIDR_FOL-217-0220_promo_v0002.11172016-06-29T07:18:39+00:00monthlyhttps://vfxblog.com/2016/06/28/the-biggest-shots-in-independence-day-resurgence/https://vfxblog.com/wp-content/uploads/2016/06/asia-lifting-off.jpegasia-lifting-off2016-06-28T03:51:37+00:00monthlyhttps://vfxblog.com/2016/06/28/photogrammetizing-phil-tippetts-very-awesome-stop-mo-puppets/https://vfxblog.com/wp-content/uploads/2016/06/gibby.jpgGibby2016-06-28T03:48:02+00:00monthlyhttps://vfxblog.com/2016/06/23/need-a-cg-car-in-your-spot/https://vfxblog.com/wp-content/uploads/2016/06/00000014995.jpg000000149952016-06-23T16:24:35+00:00monthlyhttps://vfxblog.com/2016/06/22/tentacles-and-everything-else/https://vfxblog.com/wp-content/uploads/2016/06/dory6.jpgFINDING DORYFINDING DORY Progression Image (1 of 5) – STORY – This storyboard was drawn by “Finding Dory” story supervisor Max Brace. Storyboards are drawn by story artists for the purpose of pre-visualizing the film. They are placed side by side in sequence by the editorial team, so that they convey scenes and deliver a rough sense of how the story unfolds. This storyboard is one of approximately 103,000 story panels that were delivered to editorial. The storyboarding process, in the form it is known today, was developed at Walt Disney Studios during the early 1930s. ©2016 Disney•Pixar. All Rights Reserved.2016-06-22T21:28:16+00:00monthlyhttps://vfxblog.com/2016/06/22/the-secrets-behind-bad-robots-vfx-for-10-cloverfield-lane/https://vfxblog.com/wp-content/uploads/2016/06/10cloverfieldlane0007.jpg10 CLOVERFIELD LANEDan Trachtenberg directs 10 CLOVERFIELD LANE, by Paramount Pictureshttps://vfxblog.com/wp-content/uploads/2016/06/10ccl_ship_02_38_1000.jpg10CCL_Ship_02_38_1000Ship design by Nick Hiatt.https://vfxblog.com/wp-content/uploads/2016/06/10ccl_09_1000.jpg10CCL_09_1000Ship design by Nick Hiatt.https://vfxblog.com/wp-content/uploads/2016/06/13133086_1150496981639030_8586794954483248079_n.jpg13133086_1150496981639030_8586794954483248079_nhttps://vfxblog.com/wp-content/uploads/2016/06/12671994_1757507437828676_3348145821813054564_o.jpg12671994_1757507437828676_3348145821813054564_ohttps://vfxblog.com/wp-content/uploads/2016/06/clover2.jpgClover2Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2016/06/clover1.jpgClover1Illustration by Aidan Roberts.https://vfxblog.com/wp-content/uploads/2016/06/10_cloverfield_lane_v1.jpg10_Cloverfield_Lane_V1Illustration by Aidan Roberts.2016-06-22T17:36:46+00:00monthlyhttps://vfxblog.com/2016/06/22/a-long-chat-with-a-great-vfx-supe/https://vfxblog.com/wp-content/uploads/2016/06/warcraft1.jpgwarcraft12016-06-22T17:30:11+00:00monthlyhttps://vfxblog.com/2016/06/20/vfx_shot-taking-flight/https://vfxblog.com/wp-content/uploads/2016/06/022_bf_1850_publicity_still_v2-1018a.jpg022_bf_1850_Publicity_Still_v2.1018ahttps://vfxblog.com/wp-content/uploads/2016/06/022_bf_1850_publicity_still_v2-1017a.jpg022_bf_1850_Publicity_Still_v2.1017ahttps://vfxblog.com/wp-content/uploads/2016/06/022_bf_1850_publicity_still_v2-1017.jpg022_bf_1850_Publicity_Still_v2.1017https://vfxblog.com/wp-content/uploads/2016/06/022_bf_1850_publicity_still_v2-1018.jpg022_bf_1850_Publicity_Still_v2.10182016-06-21T10:15:31+00:00monthlyhttps://vfxblog.com/2016/06/12/the-enduring-allure-of-the-hollywood-monster/https://vfxblog.com/wp-content/uploads/2016/06/rickbaker.jpgRickBakerFilming at Rick Baker’s famed workshop.https://vfxblog.com/wp-content/uploads/2016/06/poster.jpgPosterThe official poster for Creature Designers - The Frankenstein Complex.https://vfxblog.com/wp-content/uploads/2016/06/img_7444.jpgIMG_7444Director Alexandre Poncet examines a stop motion T-Rex puppet crafted by Phil Tippett’s team for Jurassic Park animatics.https://vfxblog.com/wp-content/uploads/2016/06/frankensteingremlins.jpgFrankensteinGremlinsJoe Dante (left) and John Landis pose with a puppet from Gremlins.https://vfxblog.com/wp-content/uploads/2016/06/frankensteingilliswoodruffjr.jpgFrankensteinGillisWoodruffjrCreature designers Alec Gillis and Tom Woodruff, Jnr, with friend.https://vfxblog.com/wp-content/uploads/2016/06/frankensteindid.jpgFrankensteinDIDEx-ILM visual effects artist Steve Williams (left) with Phil Tippett at his studio and one of the Digital Input Devices (DID) made to aid in animation for Jurassic Park.https://vfxblog.com/wp-content/uploads/2016/06/frankensteincritters.jpgFrankensteinCrittershttps://vfxblog.com/wp-content/uploads/2016/06/dsc_5973.jpgDSC_5973(From left) Frankenstein Complex director Alexandre Poncet, Alec Gillis from ADI, fellow director Gilles Penso and Tom Woodruff, Jnr, also from ADI.2016-06-20T15:00:04+00:00monthlyhttps://vfxblog.com/2016/06/20/battle-of-the-vfx/2016-06-20T14:59:08+00:00monthlyhttps://vfxblog.com/2016/06/15/a-surreal-lucid-nightmare/https://vfxblog.com/wp-content/uploads/2016/06/dawnofwar_controls_b.jpgdawnofwar_controls_b2016-06-15T04:34:49+00:00monthlyhttps://vfxblog.com/2016/06/14/orc-tusks-are-hard/https://vfxblog.com/wp-content/uploads/2016/06/war.jpgWAR2016-06-14T05:26:46+00:00monthlyhttps://vfxblog.com/2016/06/10/magnetic-fields-and-destruction-aplenty/https://vfxblog.com/wp-content/uploads/2016/06/227_xb_8050_publicity_still_v2-1018.jpg227_xb_8050_Publicity_Still_v2.10182016-06-10T20:34:33+00:00monthlyhttps://vfxblog.com/2016/06/08/the-siggraph-2016-production-sessions-are-huge/https://vfxblog.com/wp-content/uploads/2016/06/col_bg.jpgcol_bg2016-06-08T22:52:39+00:00monthlyhttps://vfxblog.com/2016/06/08/bebop-rocksteady-together-again/https://vfxblog.com/wp-content/uploads/2016/06/bebobrocksteady.jpgnullLeft to right: Bebop and Rocksteady in in Teenage Mutant Ninja Turtles: Out of the Shadows from Paramount Pictures, Nickelodeon Movies and Platinum Dunes.2016-06-08T02:03:28+00:00monthlyhttps://vfxblog.com/2016/06/02/the-scene-from-x-men-apocalypse/https://vfxblog.com/wp-content/uploads/2016/06/xmen_apocalypse_d.jpgxmen_apocalypse_d2016-06-02T01:49:19+00:00monthlyhttps://vfxblog.com/2016/04/30/the-original-dooms-practical-models/https://vfxblog.com/wp-content/uploads/2016/04/spidermastermind.jpgSpiderMastermind2016-05-31T12:12:16+00:00monthlyhttps://vfxblog.com/2016/05/27/when-3d-and-anime-meet/https://vfxblog.com/wp-content/uploads/2016/05/symphonyoftwominds_d.jpgsymphonyoftwominds_d2016-05-27T22:28:25+00:00monthlyhttps://vfxblog.com/2016/05/13/the-bare-necessities-of-vfx/https://vfxblog.com/wp-content/uploads/2016/05/the-jungle-book-051_bf_0330_comp_v0266_right-87666.jpgTHE JUNGLE BOOKTHE JUNGLE BOOK (Pictured) MOWGLI and BALOO. ©2016 Disney Enterprises, Inc. All Rights Reserved.2016-05-26T00:13:35+00:00monthlyhttps://vfxblog.com/2016/05/26/the-vfx-of-civil-wars-opening-battle/https://vfxblog.com/wp-content/uploads/2016/05/lag0750_03_final-1016.pngLAG0750_03_Final.10162016-05-26T00:13:09+00:00monthlyhttps://vfxblog.com/2016/05/23/translating-angry-birds-from-app-to-film/https://vfxblog.com/wp-content/uploads/2016/05/angrybirdsmovie_sony_c-1280x600.jpgangrybirdsmovie_sony_c-1280x6002016-05-23T23:45:10+00:00monthlyhttps://vfxblog.com/2016/05/22/how-animators-kept-jungle-book-real/https://vfxblog.com/wp-content/uploads/2016/05/junglebook_mpc_d-1280x600.jpgjunglebook_mpc_d-1280x6002016-05-22T22:45:17+00:00monthlyhttps://vfxblog.com/2016/05/18/simpsons-live-what-could-go-wrong/https://vfxblog.com/wp-content/uploads/2016/05/simpsons_live_main-1280x600.jpgsimpsons_live_main-1280x6002016-05-18T22:20:45+00:00monthlyhttps://vfxblog.com/2016/05/18/craving-behind-the-scenes/https://vfxblog.com/wp-content/uploads/2016/05/screen-shot-2016-05-11-at-15-52-11.jpgScreen Shot 2016-05-11 at 15.52.11https://vfxblog.com/wp-content/uploads/2016/05/screen-shot-2016-05-11-at-15-49-19.jpgScreen Shot 2016-05-11 at 15.49.192016-05-18T05:02:46+00:00monthlyhttps://vfxblog.com/2016/05/17/top-gun-turns-30/https://vfxblog.com/wp-content/uploads/2016/05/falling.jpgfalling2016-05-17T01:15:56+00:00monthlyhttps://vfxblog.com/2016/05/11/fusion-is-free-and-on-mac-too/https://vfxblog.com/wp-content/uploads/2016/05/fusion_main-1280x600.jpgfusion_main-1280x600https://vfxblog.com/wp-content/uploads/2016/05/cwc0230_v003_049447-1014.jpgCWC0230_v003_049447.1014Marvel's Captain America: Civil War Black Panther/T'Challa (Chadwick Boseman) Photo Credit: Film Frame © Marvel 20162016-05-11T23:36:44+00:00monthlyhttps://vfxblog.com/2016/05/09/inside-blur-studio/https://vfxblog.com/wp-content/uploads/2016/05/blur_1.jpgOLYMPUS DIGITAL CAMERAOLYMPUS DIGITAL CAMERA2016-05-09T02:16:30+00:00monthlyhttps://vfxblog.com/2016/05/09/what-the-vr-future-holds/https://vfxblog.com/wp-content/uploads/2016/05/fmx_pinkava-1280x600.jpgfmx_pinkava-1280x6002016-05-09T02:14:33+00:00monthlyhttps://vfxblog.com/2016/04/22/the-tech-of-quantum-break/https://vfxblog.com/wp-content/uploads/2016/04/remedy_virtual_camera_in_mocap.jpgRemedy_virtual_camera_in_mocap2016-04-30T09:12:11+00:00monthlyhttps://vfxblog.com/2016/04/27/teddy-floppy-ear-a-hybrid-film/https://vfxblog.com/wp-content/uploads/2016/04/teddyfloppyear_set_b.jpgteddyfloppyear_set_b2016-04-30T09:11:57+00:00monthlyhttps://vfxblog.com/2016/04/27/ghost-cell-breathtaking-filmmaking/https://vfxblog.com/wp-content/uploads/2016/04/ghostcell_a-1280x600.jpgghostcell_a-1280x6002016-04-30T09:11:39+00:00monthlyhttps://vfxblog.com/2016/04/28/fmx-its-all-about-vr/https://vfxblog.com/wp-content/uploads/2016/04/fmx_vr4.jpgFMX_VR42016-04-30T09:11:08+00:00monthlyhttps://vfxblog.com/2016/04/28/3dartist-power-up-zbrush/https://vfxblog.com/wp-content/uploads/2016/04/screen-shot-2016-04-20-at-10-54-10-e1461148438478.pngScreen-Shot-2016-04-20-at-10.54.10-e14611484384782016-04-30T09:10:28+00:00monthlyhttps://vfxblog.com/2016/04/28/masters-of-fx-in-the-wild/https://vfxblog.com/wp-content/uploads/2016/04/cg9dgc8wgaekpxv.jpgCg9DgC8WgAEkPxV2016-04-30T09:10:03+00:00monthlyhttps://vfxblog.com/2016/04/27/fmx-2016-is-underway/https://vfxblog.com/wp-content/uploads/2016/04/13102875_10154077979191000_5058373679976026024_n.jpg13102875_10154077979191000_5058373679976026024_n2016-04-27T05:47:26+00:00monthlyhttps://vfxblog.com/2016/04/22/how-hardcore-henrys-pov-shots-were-made/https://vfxblog.com/wp-content/uploads/2016/04/hardcore_featured1.jpghardcore_featured12016-04-22T00:25:11+00:00monthlyhttps://vfxblog.com/2016/04/12/real-and-cg-in-batman-v-superman/https://vfxblog.com/wp-content/uploads/2016/04/batmansuperman_featured.jpgbatmansuperman_featured2016-04-12T02:39:18+00:00monthlyhttps://vfxblog.com/2016/04/10/the-tricky-tracking-task-of-fungus-the-bogeyman/https://vfxblog.com/wp-content/uploads/2016/04/fungus_featured.jpgfungus_featured2016-04-10T03:23:11+00:00monthlyhttps://vfxblog.com/2016/03/31/telling-the-story-the-importance-of-invisible-effects/https://vfxblog.com/wp-content/uploads/2016/03/race_birthnation.jpgrace_birthnation2016-03-31T00:18:59+00:00monthlyhttps://vfxblog.com/2016/03/11/the-tech-behind-zootopia/https://vfxblog.com/wp-content/uploads/2016/03/zootopia_featured.jpgzootopia_Featured2016-03-11T02:02:57+00:00monthlyhttps://vfxblog.com/2016/03/08/new-x-files-same-aesthetic/https://vfxblog.com/wp-content/uploads/2016/03/xfil-106-001-020_comp_v0023.jpgXFIL-106-001-020_comp_v00232016-03-08T02:48:44+00:00monthlyhttps://vfxblog.com/2016/03/03/the-effects-of-kung-fu-panda-3/https://vfxblog.com/wp-content/uploads/2016/03/kungfupanda3_featured.jpgkungfupanda3_featured2016-03-03T08:51:01+00:00monthlyhttps://vfxblog.com/2016/03/03/revisit-the-vfx-of-oscar-winner-ex-machina/https://vfxblog.com/wp-content/uploads/2016/03/exmachina_touch_rgb0.jpgExMachina_touch_rgb02016-03-03T08:46:57+00:00monthlyhttps://vfxblog.com/2016/03/03/how-cool-is-star-wars-lego/https://vfxblog.com/wp-content/uploads/2016/03/legogame_featured.jpglegogame_featured2016-03-03T08:39:08+00:00monthlyhttps://vfxblog.com/2016/02/15/deadpools-biggest-vfx/https://vfxblog.com/wp-content/uploads/2016/02/syb0060_lightcomp_how_to_v001-1003.jpgsyb0060_lightcomp_how_to_v001.10032016-02-15T23:27:14+00:00monthlyhttps://vfxblog.com/2016/02/11/hollywood-redux-the-vfx-of-hail-caesar/https://vfxblog.com/wp-content/uploads/2016/02/caesar_featured.jpgcaesar_featured2016-02-11T06:36:06+00:00monthlyhttps://vfxblog.com/2016/02/10/anomalisa-hand-crafted-visual-effects/https://vfxblog.com/wp-content/uploads/2019/11/aaaec-image2018-07-31-075856-1.jpgimage2018-07-31-075856-1https://vfxblog.com/wp-content/uploads/2019/11/3c17b-maya11.jpgMaya11https://vfxblog.com/wp-content/uploads/2019/11/adb5e-maya16.jpgMaya16https://vfxblog.com/wp-content/uploads/2019/11/897c3-maya17.jpgMaya17https://vfxblog.com/wp-content/uploads/2019/11/972bf-maya15.jpgMaya15https://vfxblog.com/wp-content/uploads/2019/11/f15e4-maya14.jpgMaya14https://vfxblog.com/wp-content/uploads/2019/11/3386f-maya13.jpgMaya13https://vfxblog.com/wp-content/uploads/2019/11/2d891-maya12.jpgMaya12https://vfxblog.com/wp-content/uploads/2019/11/0dbe1-maya_interface.jpgMaya_interfacehttps://vfxblog.com/wp-content/uploads/2019/11/de772-mel_tshirt.jpgmel_tshirt2016-02-10T08:44:28+00:00monthlyhttps://vfxblog.com/2016/02/03/big-night-at-the-ves-awards/https://vfxblog.com/wp-content/uploads/2016/02/host.jpghost2016-02-03T19:07:10+00:00monthlyhttps://vfxblog.com/2016/02/01/how-they-made-that-chem-bros-video/https://vfxblog.com/wp-content/uploads/2016/02/wideopen_featured.jpgwideopen_featured2016-02-01T06:16:26+00:00monthlyhttps://vfxblog.com/2016/01/30/invisible-fx-creed-point-break-southpaw/https://vfxblog.com/wp-content/uploads/2016/01/2_after-660x371.jpg2_After-660x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