The tech challenges behind the industry awards process
Johan Åberg has written a Maya to Combustion mel script, and he has posted a release candidate for the script.
Furious 7’s most stunning effect: Paul Walker
Weta Digital VFX supe Martin Hill on bringing the late Paul Walker to the screen for Furious 7.
The tech (and tennis balls) behind Tom Hardy’s double turn
The splitscreens and face replacement VFX behind the Tom Hardy twin gangster pic, Legend.
20 in the VFX Oscar race
Find out which films have made it into the top-20 for the VFX Oscar, and let us know what your final ten and final five would be.
Making the world of Pixar’s The Good Dinosaur
EXCLUSIVE behind the scenes breakdowns on Pixar’s approach to the stunning environments in The Good Dinosaur.
Unionizing efforts in the UK
In London recently BECTU (Broadcasting Entertainment Cinematograph and Theatre Union) formally requested recognition to represent the compositing department at MPC. fxguide spoke with Paul Evans from BECTU as well as Joe Pavlo, an artist who has been heavily involved in the effort.
Welcome to the last Hunger Games
Our in-depth look at the visual effects of the final Hunger Games film, Mockingjay – Part 2.
What happens to miniatures after they’ve been shot?
Famed ILM Model Shop modelmaker Lorne Peterson talks to fxguide about the fate of miniatures. Plus behind the scenes of some of his favorite projects.
Walter Murch on the path to digital
Legendary editor Walter Murch shares his thoughts on the advent of digital editing systems in this special fxinsider interview.
Crafting the hero moment
ILM animation supervisor Glenn McIntosh discusses Jurassic World’s final heroic scenes in this special fxinsider interview.
Spectre-acular effects
Spectre – breaking down five of the biggest effects, one a record breaking explosion. We talk directly to the VFX & SFX teams about brain drills, one-take explosions and filming with 2,500 extras.
Gnome way out
How MPC took on Goosebumps’ VFX challenges, gnome matter what was thrown at them.
How Cinesite keeps on track
Cinesite reveals how ftrack helped plan and track the studio’s visual effects for The Last Witch Hunter.
Alex Mahon joins The Foundry as CEO
EXCLUSIVE interview with new The Foundry CEO Alex Mahon and former CEO Bill Collis who will now be the company’s President.
The tech of the art of The Peanuts Movie
Hand-drawn motion blur, specialized rigs, ghost limbs and a UV approach for facial features – just some of the solutions Blue Sky Studios came up with for bringing 2D to 3D for The Peanuts Movie.
Inside a scene in Inside Out
In this fxinsider story for our valued subscribers, we talk to Pixar’s director of photography (lighting) Kim White about a scene from Inside Out.
It’s Guitar Hero, but not as you know it
The new Guitar Hero Live was filmed with a high speed Bolt Cinebot, while Framestore helped flesh out up to 12,000 frame effects-heavy scenes for the game.
Why the Lytro Immerge is a big deal
Opinion piece: We discuss what makes the Lytro Immerge so cool technically and so important as a new camera.
Flame unchained: Software-only and on OS X
Flame on Linux is becoming a software-only subscription and will be no longer sold as turnkey hardware systems early next year. In addition, Flame is coming to OS X at the end of November, and Flare and Flame Assist will be available for everyone, not just Flame owners.
ILM supes on problem solving in VFX
ILM vfx supes Ben Snow and Tim Alexander discuss the use of iPad apps, learning VR and re-thinking pipelines and VFX tools on some of their recent projects.
Supercharging the ride film
How Universal Studios tram riders are immersed into the spectacle of Fast & Furious: Supercharged.
Jump into Halo 5: Guardians
A detailed Q&A with the team at 343 Industries and Axis behind Halo 5: Guardians’ opening cinematic – looking at planning, performance capture, animation, FX and rendering.
Inside Disney Research Zurich’s capture tech
fxguide’s Mike Seymour has his eyes and head scanned at Disney Research Zurich.
Mafia III – how Blur made a trailer to remember
Behind the scenes of Blur’s reveal trailer for Mafia III, including a host of VFX breakdowns.
fxinsider: One of Us helps the climb to Everest
In this special breakdown for our fxinsider members, we take a look at One of Us’ vfx for Everest – plus feature befores and afters of their work.
An animated day 3 at VIEW
The Book of Life, Hotel Transylvania 2 and Shaun the Sheep – all presented on day 3 at VIEW.
The future is today: how ILM made time travel possible
The incredible work it took to hand-animate the Delorean time slice effects and the lightning bolts 30 years ago for Back to the Future.
Day 2 at VIEW: The Little Prince and ILM’s models and miniatures
We report on ILM Model Shop Supervisor Lorne Peterson’s talk at VIEW, and the keynote from The Little Prince director Mark Osborne.
Kara Zor-El : AKA Supergirl
Encore visual effects supervisor Armen Kevorkian discusses his latest work for Supergirl.