Ang Lee is making Gemini Man, where a spy confronts a younger version of himself. That’s likely to use de-ageing or CG human tech to show both characters together in the same scene. But it turns out an early test was done for this film several years ago at Disney. Here’s my look back at Cartoon Brew.
For Cartoon Brew, I talked to Epic Games CTO Kim Libreri about the intersection of VFX and real-time rendering. All these areas have been slowly converging for several years, so it’s fascinating to see where things are up to.
I talked to Body Labs about their statistical models for the human body shape and motion, and how they might impact on animation for gaming, AR, VR and visual effects. Check it out at Cartoon Brew.
At Cartoon Brew, I wrote about DD and The Third Floor’s work on Spider-Man: Homecoming on the ferry sequence, one of the coolest from the film.
One of the coolest things at SIGGRAPH is Real-time Live! The event has actually changed quite a lot since its inception to include game engines, VR, real-time rendering, real-time sims and more. Check out this preview I wrote for Cartoon Brew.
At FMX I got a chance to sit down with Valerian vfx supe Scott Stokdyk. We went through how the film was made, including a look at the video-vis director Luc Besson shot with his film school students. See the story at Cartoon Brew.
For Cartoon Brew, I ran down how Weta Digital takes the on-set performance capture and pushes it through different departments to produce ape animation. It’s an incredible, artistic and technical process. Hope you enjoy the read.
I talked to Method Studios visual effects supervisor Erik De Boer about Okja – and how the team gave a personality to the CG super-pig. Check it out at Cartoon Brew.
At Apple’s WWDC, Peter Jackson’s augmented reality studio Wingnut AR demo’d a scene using Apple’s ARKit – here’s a look behind the scenes at Cartoon Brew, including lots of testing photos.
ILM’s Scott Farrar has worked on each one of the Transformers films, and for The Last Knight, I asked him about Bumblebee’s newest kind of transformation. Check it out at Cartoon Brew.
Neill Blomkamp has started an experimental studio and their first released short film is Rakka. VFX supe Chris Harvey kindly sat down with me for an interview, at Cartoon Brew.
For Cartoon Brew, I found out about how the war scenes were orchestrated by the vfx teams in Wonder Woman. Check out the article here.
I could watch these all day. Here’s how MPC pulled it off, in a new article for Cartoon Brew.
I talked to MPC vfx supe Charley Henley in London about the use of on-set suits and performers for the Xenomorph and Neomorphs in Alien: Covenant. Check it out on Cartoon Brew.
Limitless thinks we can, and they’re already doing it. I talked to Tom Sanocki at FMX about where their software is up to. Here’s the story at Cartoon Brew.
In the opening to Guardians of the Galaxy Vol. 2, Groot steals the show, mostly because he doesn’t care that a giant alien creature is on the attack behind him while he’s dancing. Framestore pulled off this sequence and I wrote about it for Cartoon Brew.
It always amazes me what people do in Blender, and that the software is open source. Was great to find out about the Blender Institute’s newest project, Agent 327: Operation Barbershop – which has film-quality visuals and style. Check it out at Cartoon Brew.
This incredible animation by Nikita Diakur called Ugly was done by deliberately making mistakes inside C4D. I talked to the animator about how he accomplished it, for Cartoon Brew.
It’s kind of amazing where vfx in TV is going, isn’t it? American Gods is one of the new shows with such innovative and story-related VFX. I talked to the VFX team for both Thrillist and Cartoon Brew. You gotta see this show.
…of the car variety. That’s what this scene involves in The Fate of the Furious, and to make it possible an incredible combo of practical and digital vfx work was done, including by Double Negative. Here’s my chat with them for Cartoon Brew.