Immersive drama: more than VR — more than film
Closer to reality than virtual: The Dobos Connection explores how Apple Immersive Video and the Blackmagic URSA Cine Immersive are creating a new cinematic language beyond both film and VR.
Fallout Season 2 with VFX Supervisor Jay Worth
VFX Supervisor Jay Worth discusses the intricate production of Fallout Season 2, highlighting a continued commitment to blending practical puppets with digital enhancements, cutting-edge VFX, and state-of-the-art AI.
Nuke 17 with Foundry Creative Director Juan Salazar
A deep dive into Nuke 17 exploring BigCat machine learning, native Gaussian splats, the new USD-based 3D system, and how evolving workflows are reshaping the role of the modern compositor.
Judged by AI: 90 minutes to prove innocence: the VFX of Mercy
How do you visualize an AI judge, holographic forensics, and city-wide destruction in 90 minutes? We go behind the VFX of Mercy with DNEG.
Foundry acquires Griptape – an exclusive fxpodcast interview
Griptape’s Jason Schleifer (Chief Creative Officer) and the Foundry’s Christy Anzelmo (Chief Product Officer) discuss the just announced acquisition and what the ongoing shift in the vfx industry means for artists, studios, and pipelines.
Sci-Tech Oscars announced
Congratulations to this year’s Scientific and Technical Awards recipients.
Marty Supreme: Eran Dinur on invisible VFX and both sport and period authenticity
How invisible VFX and obsessive period detail to turned Timothée Chalamet into a table-tennis hero in the Oscar nominated Marty Supreme
Oscar nominated Charlie Noble, VFX supervisor on The Lost Bus
From Unreal previs to real flames: Oscar-nominated The Lost Bus demonstrates that sometimes the hardest VFX work is making reality feel honest.
Squid Game: the VFX challenge with Lux Aeterna
We spoke with Emma Kolasinska (Executive VFX Producer) and Tav Flett (Compositing Supervisor) to discuss how they used invisible VFX to support the unscripted television series without breaking emotional or visual authenticity.
Congrats to the 98th Oscar Nominees
The nominations for the 98th Oscars have been announced…congratulations to the teams.
Blackmagic ProDock and iPhone as a VFX Gaussian splatting weapon at Radiant Images
Blackmagic’s ProDock turns the iPhone 17 Pro into a production camera rig and in Radiant Images’ hands it becomes a killer rig for Gaussian Splats and bullet-time shots.
VFXShow 302: Avatar: Fire and Ash
Matt Wallin, Jason Diamond, and Mike Seymour inhabit Pandora once again for the latest Avatar: Fire and Ash. The team discuss the third epic science fiction Avatar film directed by James Cameron, who co-wrote the screenplay with Rick Jaffa and Amanda Silver.
From capture to compute: the technology powering Avatar: Fire and Ash
This is what it takes to engineer cinema at scale. With Wētā FX VFX Supervisor Eric Saindon and Senior Animation Supervisor Dan Barrett.
These are some of our favourite things from 2025
Some of our favourite things from 2025. Do you agree? What did we miss?
fxpodcast: Pablo Helman on Wicked for Good + BTS gallery
We speak to Pablo Hellman about the second Wicked for Good film and it comes with a special treat of a gallery of behind-the-scenes images.
Adobe Firefly doubles down on control, choice, and scale for AI video creators
With the latest updates, Adobe is positioning Firefly as a serious, end-to-end creative platform for AI-assisted storytelling and imagery.
Yuki’s Revenge: how Unreal Engine revived Tarantino’s missing Kill Bill scene
Tarantino’s long-lost Kill Bill sequence comes to life inside Fortnite, showcasing how Unreal Engine’s real-time filmmaking tools are reshaping modern cinematic storytelling.
NUKE 17.0 in beta with Gaussian Splats
The NUKE 17.0 public beta brings Gaussian Splatting into the compositor pipeline, unlocking real-time, editable volumetric scenes directly inside Nuke.