Case studies in invisible effects
Behind the seamless VFX in Lone Survivor, The Grand Budapest Hotel, Enemy and Ripper Street.
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Checking in on The Foundry’s FLIX
DreamWorks Animation is the latest studio to adopt The Foundry’s story development tool FLIX.
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NVIDIA GPU Tech Conference: day 1 report
Our day one coverage of the NVIDIA GPU Technology Conference includes highlights from the keynote by NVIDIA CEO Jen-Hsun Huang as well as the Octane Renderer 2.0 announcement.
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Inside the battles of 300: Rise of an Empire
Behind the scenes of 300: Rise of an Empire with the vfx supes, Scanline, MPC, Cinesite, Third Floor, Halon and Gener8.
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Catching up with V-Ray’s founders (& V-Ray 3.0 for Maya)
We sit down with Chaos Group founders Vladimir Koylazov and Peter Mitev to discuss the latest with V-Ray and what you can expect into the future.
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The tech of Crytek’s Ryse: Son of Rome
How Crytek utilized virtual production, physically plausible rendering and a cache based pipeline for ‘Ryse: Son of Rome’.
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the vfx show #180: Vikings and Marvel’s Agents of S.H.I.E.L.D.
Mike Seymour and Zap Andersson discuss the VFX in the TV shows Vikings & Marvel’s Agents of S.H.I.E.L.D. Please note we did not properly credit FuseFX who did incredible work on S.H.I.E.L.D.
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Like an animated painting: Child of Light
Part 1 of a making of series for Ubisoft’s painterly role-playing game Child of Light.
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Bifrost: exclusive first in-depth look
fxguide’s exclusive look at the Bifröst procedural effects platform inside Autodesk Maya 2015.
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How they made the biggest stunts in Need for Speed
The 3 biggest stunts from Need for Speed, and how the DOP and effects teams made them possible.
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fxpodcast #272: Digital costume design
This week we talk to Framestore CFX lead Juan-Luis Sanchez about digital costume design, including the incredible work he contributed to Gravity.
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Virtual production: Animatrik
We talk to Animatrik Film Design about their approach to virtual production work.
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CG robots, milk sims, digi-enviros & macro-cloth
Breakdowns from 4 stunning TVCs by The Mill, Method Studios, Platige Image/Juice and Glassworks.
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Red Giant takes on the Universe
Find out what Red Giant Universe is and what it means for you.
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3DEqualizer – German precision where vfx needs it
A tracking Q&A about 3DEqualizer with the co-founder of Science.D.Visions Rolf Schneider.
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The making of The Last Days on Mars
fxguide goes off-planet to showcase the vfx for The Last Days on Mars by Dublin house Screen Scene.
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Blur’s The Elder Scrolls Online cinematic: 8 mins of action
Blur reveals how they made their latest Elder Scrolls Online cinematic, including a look at early concept art and models crafted by the studio.
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Remembering Softimage
Ex-ILMer Steve ‘Spaz’ Williams shares a story about working with Softimage during the making of Jurassic Park. Autodesk has just announced the software is EOL.
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