That’s just some of the work Imageworks had to tackle for Suicide Squad, which I looked into for One Perfect Shot.

It must have been an amazing time at Weta in the mid-90s. Here’s a piece I wrote for One Perfect Shot which looks at the making of The Frighteners with vfx supe Wes Takahashi, who got brought in from ILM to help Weta finish making the film. He and the studio did a stellar job.

That’s what Dneg vfx supe Sean Stranks used when describing his approach to dirtying up the frame for the new Star Trek film. More on OnePerfectShot.

…and other Ghostbusters effects, thanks to Imageworks vfx supe Dan Kramer. A new article on One Perfect Shot.

The Shallows has some amazing CG shark visuals, but you’d expect that with Important Looking Pirates on board, as well as VFX supervisor Scott E Anderson. I talked to Scott for this new piece on One Perfect Shot.

Have to admit I was surprised no mocap was used for the apes in The Legend of Tarzan. That didn’t mean gray tracking suits weren’t used for reference, but none of this was for traditional performance capture data. Find out more in this interview with Framestore for One Perfect Shot.

Over at One Perfect Shot, I’ve published a piece with a number of vfx supes behind the work in Independence Day: Resurgence, plus a number of breakdown pics.

With Hank, Pixar’s creative and technical team has once again outdone itself. I talked to supervising technical director John Halstead about bringing the octopus to life, for OnePerfectShot.

ILM’s Hal Hickel talked to me for OnePerfectShot about the work behind Warcraft’s orcs, including why tusks were some of the hardest things to make work.

Here’s a new story at One Perfect Shot I wrote about MPC and Digital Domain’s destruction work in X-Men: Apocalypse. Awesome magnetic fields approach too.