Case studies in invisible effects
Behind the seamless VFX in Lone Survivor, The Grand Budapest Hotel, Enemy and Ripper Street.
Checking in on The Foundry’s FLIX
DreamWorks Animation is the latest studio to adopt The Foundry’s story development tool FLIX.
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.
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.
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.
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’.
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.
Like an animated painting: Child of Light
Part 1 of a making of series for Ubisoft’s painterly role-playing game Child of Light.
Bifrost: exclusive first in-depth look
fxguide’s exclusive look at the Bifröst procedural effects platform inside Autodesk Maya 2015.
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.
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.
Virtual production: Animatrik
We talk to Animatrik Film Design about their approach to virtual production work.
CG robots, milk sims, digi-enviros & macro-cloth
Breakdowns from 4 stunning TVCs by The Mill, Method Studios, Platige Image/Juice and Glassworks.
Red Giant takes on the Universe
Find out what Red Giant Universe is and what it means for you.
3DEqualizer – German precision where vfx needs it
A tracking Q&A about 3DEqualizer with the co-founder of Science.D.Visions Rolf Schneider.
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.
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.
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.
