How the VFX for the new X-Files stayed within the realm of the classic TV show’s impressive legacy.

Chaos finally offers a solution to “is it a blue and black or gold and white dress?” with their new VRScans.

The Oscar-nominated Mad Max: Fury Road effects team recount some of the film’s biggest stunts and effect work.

An in-depth look at the 50s-style effects used to bring the Coen brother’s Hail, Caesar! to the screen.

The stop-motion film Anomalisa is a masterpiece of hand-crafted animation, but you might be surprised how much visual effects work is involved to help tell the film’s tale.

Vikings in coffee, dogs as hot dogs, Hulk vs. Ant-Man and puppymonkeybaby…it’s Super Bowl 50!

Behind the scenes of the 6,798 frames of the latest Chemical Bros promo Wide Open (feat. Beck).

See how BigHugFX, Image Engine and Zero VFX worked to produce stunning seamless VFX in Creed, Point Break and Southpaw.

ILM discusses three VFX breakthroughs in Star Wars, The Force Awakens: BB-8, the Falcon chase and the battle on Takodana.

When make-up and digital combine – before and after breakdowns from Mr. X’s ghostly visual effects for Guillermo del Toro’s Crimson Peak.

We catch up with The Foundry to discuss the latest iteration of lighting tool Katana.

How Weta Workshop and Weta Digital combined to bring the characters of Krampus to life.

Johan Åberg has written a Maya to Combustion mel script, and he has posted a release candidate for the script.

Weta Digital VFX supe Martin Hill on bringing the late Paul Walker to the screen for Furious 7.

The splitscreens and face replacement VFX behind the Tom Hardy twin gangster pic, Legend.

EXCLUSIVE behind the scenes breakdowns on Pixar’s approach to the stunning environments in The Good Dinosaur.

Our in-depth look at the visual effects of the final Hunger Games film, Mockingjay – Part 2.

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.

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.

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.

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.

How Universal Studios tram riders are immersed into the spectacle of Fast & Furious: Supercharged.

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.

Behind the scenes of Blur’s reveal trailer for Mafia III, including a host of VFX breakdowns.

How Atomic Fiction helped replicate Philippe Petit’s daring 1974 Twin Towers high-wire act.

How Sony dealt with the unique animation challenges on Hotel Transylvania 2, with exclusive videos.