How The Mill gave Audi its oomph
The Mill’s head of 3D Tom Bussell walks us through his work on ‘Oomph’, a fast-paced monochrome spot for the Audi A1.
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Get the Smurf out of here!
Sony Pictures Imageworks and Tippett Studio discuss their work on the surprisingly successful new release: The Smurfs.
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The art of digital color
As part of our ‘Art of’ series we present our latest article. Color management and color workflows have evolved over many years. In this article we will trace from Cineon to the scene referred linear OpenEXR format.
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Behind the scenes with the Siggraph CAF winners
We take a look at two of the winners from this year’s SIGGRAPH Computer Animation Festival – Moonbot Studio’s ‘The Fantastic Flying Books of Mr. Morris Lessmore’ and ‘Paths of Hate’.
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ILM adds texture to Cowboys & Aliens
We talk to ILM vfx supe Roger Guyett and texture supervisor Martin Murphy about taming the alien wild west in the summer blockbuster Cowboys & Aliens.
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Day 4: Siggraph and Out
Our SIGGRAPH 2011 coverage continues with a look at day four of the conference.
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Day 3 Siggraph 2011
Day 3 of the Siggraph Show in Vancouver and the trade show opened, joining the papers, tech talks, presentations and general geeking out that is Siggraph 2011. Today included detailed talks from Pixar, news on Alembic, OpenColorIO and much more.
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Captain America: super soldier effects
We take a look at several studios’ visual effects work on Captain America: The First Avenger.
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Day 2 Siggraph 2011
Here’s our wrap-up of Day Two at Siggraph 2011 in Vancouver.
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Framestore’s heavens and horcruxes
Part 3 of our Potter Week Series: Framestore artists discuss their water sims and heavenly VFX for Harry Potter and the Deathly Hallows: Part 2. Includes a great behind the scenes clip.
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Tippett’s treasure trove of effects
POTTER WEEK: Tippett Studio visual effects supervisor Matt Jacobs takes us through his studio’s work on the treasure vault sequence in Harry Potter and the Deathly Hallows: Part 2.
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DNeg’s Gringott’s Dragon and Digi Hogwarts
As part of Potter week at fxguide we speak to Double Negative VFX supe David Vickery and executive producer Dominic Sidoli to discuss their great work for Harry Potter and the Deathly Hallows: Part 2.
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Rising Sun’s Green Lantern hi-jinks
We talk to VFX supe Dennis Jones about Rising Sun Pictures’ work on the dogfight sequence in Green Lantern.
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Dark of the Moon: ILM’s magic, in 3D
Industrial Light & Magic visual effects supervisor Scott Farrar and digital production supervisor Nigel Sumner discuss key scenes from Transformers: Dark of the Moon, including Bumblebee catching Sam and the Chicago battle, and working in stereo.
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Case study: how to make a Captain America wimp
Director Joe Johnston rejected notions of having a separate actor play the wimpy Steve Rogers in Captain America, as we discovered when we spoke to Edson Williams, visual effects supervisor for Lola VFX.
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Zookeeper: An animal get together
Imageworks visual effects supervisor Pete Travers delves into the challenging world of working with real animals and creating CG ones for Zookeeper. Includes a making of clip.
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VFX supe Dan Glass on The Tree of Life
We catch up with Tree of Life visual effects supervisor Dan Glass to dissect the different realms of the film’s ‘history of the universe’ montage piece.
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Digital Domain shapes Dark of the Moon
We talk to Digital Domain visual effects supervisor Matthew Butler about his team’s 350 shots for Transformers: Dark of the Moon.
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Green Lantern: Sony suits up
We talk to several members of the Sony Pictures Imageworks team responsible for bringing many of Green Lantern’s visual effects to the screen.
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Fringe takes an animated trip
VFX supe Jay Worth and Zoic Studios creative director Andrew Orloff explain the mind-bending animation techniques required for a recent episode of Fringe.
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Populating Mr. Popper’s Penguins
We talk to visual effects supervisor Richard Hollander about Rhythm & Hues’ CG creations for Mr Popper’s Penguins.
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Super 8: ILM’s production value on screen
We talk to senior ILM visual effects supervisor Dennis Muren and animation supervisor Paul Kavanagh about realizing the visual effects in J.J. Abrams’ Super 8.
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X-Men: First Class – Q&A with John Dykstra
Visual effects designer John Dysktra oversaw 1100 shots for X-Men: First Class. We ask his thoughts on designing effects for the film and how he approached grounding those in a mutant reality.
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Making mutants for X-Men: First Class
In this in-depth article, we take a look at effects for the major characters in X-Men: First Class and the film’s final showdown.
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MPC’s pirates & their ships sail on Stranger Tides
We talk to MPC’s visual effects supervisor Gary Brozenich about some of his studio’s shots for On Stranger Tides, and working for the first time in native stereo.
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Paws, claws and jaws in Attack the Block
We take a look at Fido’s CG fur, paws, claws and jaws for the film Attack the Block, with before and after pics, concept art and screenshots. Warning: spoilers.
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London calling for Pirates 4 at Cinesite
We talk to Cinesite about their visual effects contribution to Pirates of the Caribbean: On Stranger Tides, with the work spanning a carriage chase sequence through London, CG toads and the creation of Barbossa’s peg leg.
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Priest: not your average vampire movie
We take a look at just some of the 750 effects shots in Priest by Tippett Studio, Spin VFX, Svengali FX, Spy Post and The Senate.
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Psyop tested to perfection
For ‘Tested To Perfection’, a Castrol TVC for the company’s newly reformulated EDGE motor oil, Psyop was called upon to help create an elaborate test track complete with giant engine parts and a hero made of oil going through its paces. We talk to Jamie Scott (2D lead and co-vfx supervisor) and Tony Barberi (technical […]
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