We take a look at two recent TVC’s featuring visual effects from Glassworks – ‘Baby’ and ‘Manipulation’ – completed by artists in London and Amsterdam.

We talk to Engine Room founder and VFX supervisor Dan Schmit about creating more than 750 shots for the inspiring true story of Soul Surfer.

We speak exclusively to Atomic Fiction and Zero vfx, about their use of ZYNC cloud computing.

For Source Code, director Duncan Jones looked to visual effects supervisor Louis Morin to help realize 850 shots of trains, explosions, virtual transitions and other crucial sequences in the film.

In The Adjustment Bureau, two lovers played by Matt Damon and Emily Blunt find themselves kept apart by mysterious business men in hats. Visual effects supervisor Mark Russell enabled several portal door transitions and a signature ‘Escher stairs’ sequence to reveal the Bureau’s secret world.

In Red Riding Hood, a terrifying werewolf haunts the inhabitants of a medieval village. Rhythm & Hues tells us how they brought the wolf to life for this modern re-telling of the classic fairytale.

The best part about vfx is when someone comes up with a cool new original look or shot, we talk to Look Effects and Comen VFX about creating the amazing fractal zooms and out-of-body moments in Limitless, designed as an inside glimpse to the power of a new fictitious wonder drug.

With Paul, Double Negative adds to its already impressive list of visual effects credits through a major character animation show. We talk to animation supervisor Anders Beer and visual effects producer Hal Couzens about the film.

In Battle: Los Angeles, the Californian city once again finds itself under attack from alien invaders. Visual effects supervisor Everett Burrell and an army of effects artists wrought havoc on the city as well as realizing the other-worldly warriors.

Director Patrick Lussier’s Drive Angry 3D tells the fantastical story of a vengeful father who escapes from hell to save his granddaughter. VFX supe Glenn Neufeld takes us through the key effects shots and how he used them to help slowly reveal some of the film’s key surprises.

Vancouver. 1996. A young Steve Nash is visited by a fan from the future whose life was changed by the NBA superstar. But it’s all thanks to visual effects from a52. Lead Flame artist Glyn Tebbut guides us through how this ‘Nash’ future kid spot for the NBA was realised. We also have a making of clip.