We talk to Jumanji VFX supervisor Mark Breakspear

Union VFX work on the Golden Globe Nominated Two Popes.

We go behind the new Youtube Docoseries, with Dr. Mark Sagar.

Framestore took to the skies for Amazon’s Aeronauts, with one balloon, two actors and 700,249 butterflies.

The bakeoff ten

Jay Redd fakes a moon landing for AppleTV+

Digital Domain’s work on Terminator: Dark Fate.

ILM undertook one of the most ambitious de-aging projects in Martin Scorsese’s The Irishman.

Halon produced the Previs and Postvis for Ford V Ferrari

We talk to the Adobe and UC Berkeley research team about their latest AI manipulation detector research.

Headshot premiering at Real-time Live at SIGGRAPH Asia 2019

We interview The Mill’s Laurent Gillet about Maleficent: Mistress of Evil.

The first of two stories looking at Maleficent. Part 1 MPC face pipeline.

Epic Games Acquires Quixel Megascans and offers free access

We look at the new AI Shapeshifter tool that de-aged John Goodman in Righteous Gemstones

We interview Rory McGregor, CEO of Cospective about ftrack and cineSync.

A technical deep dive into Weta’s face work on Gemini Man.

We talk to MPC’s compositing supervisor about adding scale to their epic Ad Astra VFX work

Framestore serves at Downton Abbey

The artistry of aging Captain America.

Chernobyl is the remarkable story of the world’s worse Nuclear accident, we talk to DNEG about how they helped bring it to the screen.

DigiPro and the start of SIGGRAPH.

We talk to Rob Bredow in Sydney about ILM’s new studio.

A technical look at Toy Story 4

We talk to Wes Ball about the virtual production on Mouse Guard

The amazing work of Milk VFX in bringing Good Omens to the screen

fxguide is 20 today! We look back, reflect and see what the industry was doing two decades ago.

We do a deep dive into how Mark Spatny VFX supervises Station 19, interprets a script and produce complex effects – in just 3 weeks.

Godzilla King of Monsters: we talk to MPC and DNEG