The studio looked to real world reference for water, sand, fire, and smoke in their latest Lego movie.
More than 15 years ago, Disney tried to make “Gemini Man,” a film in which a real actor interacted with his younger CG self. This is the story of the studio’s ambitious attempt to make a convincing CG human.
Real-time tools are giving animation and vfx creators more flexibility in generating cg worlds and characters.
The ‘Homecoming’ filmmakers wanted to show Spider-Man’s tentative side in the movie’s dramatic ferry scene.
You’ve heard of previs, but what about ‘video-vis’? This technique could save you time and money when making a film with complex vfx sequences.
Steven Spielberg’s pop culture-soaked dystopia transfers “The Iron Giant” and “Akira” to virtual reality.
An overview of Weta Digital’s process in turning performance capture into final animation in the newest ‘Apes’ film.
How the vfx crew used on-set puppeteering and cg to bring the star of ‘Okja’ to life.
We go behind the scenes of Wingnut AR’s tabletop augmented reality experience made with Apple’s new ARKit.
How the “Transformers: The Last Knight” vfx crew crafted a new kind of transformation for the franchise’s fifth outing.
Oats Studios isn’t just creating fresh new content, they’re creating a fresh and new approach to the process of making vfx-driven films.
Director Patty Jenkins “always couched the visual effects in emotions,” the film’s vfx supervisor Bill Westenhofer tells Cartoon Brew.
MPC made Captain Salazar appear underwater, even when he wasn’t.
“The whole point of the studio is to just do what we want,” says Neill Blomkamp, director of films like “District 9,” “Elysium,” and “Chappie.”
Already a hub for vfx, animation and games, Vancouver now has a new mo-cap studio.
Behind the scenes of Ridley Scott’s newest “Alien” film, with before and after image breakdowns.
With a little help from Framestore, Baby Groot stole the show in the opening battle scene of ‘Guardians Of The Galaxy Vol. 2.’
The adaptation of the Neil Gaiman novel had some out-there god imagery that was so crazy it needed a custom-made camera rig to make it possible.
By the end of production, even the vfx artists and filmmakers had difficulty telling the real cars apart from the digital ones.
Visual effects played a huge role in bringing Michael Pitt’s Kuze villain to life in the new live-action version of ‘Ghost in the Shell.’