The nominations for the 98th Oscars have been announced…congratulations to the teams.

Blackmagic’s ProDock turns the iPhone 17 Pro into a production camera rig and in Radiant Images’ hands it becomes a killer rig for Gaussian Splats and bullet-time shots.

Some of our favourite things from 2025. Do you agree? What did we miss?

With the latest updates, Adobe is positioning Firefly as a serious, end-to-end creative platform for AI-assisted storytelling and imagery.

Tarantino’s long-lost Kill Bill sequence comes to life inside Fortnite, showcasing how Unreal Engine’s real-time filmmaking tools are reshaping modern cinematic storytelling.

The NUKE 17.0 public beta brings Gaussian Splatting into the compositor pipeline, unlocking real-time, editable volumetric scenes directly inside Nuke.

A quick look at some of the presentations we’ve highlighted at the upcoming SIGGRAPH Asia in Hong Kong.

Could this partnership of Wētā FX & AWS be a turning point for creativity, artist-driven, and responsibility in AI VFX?

A new powerful guide that shows filmmakers how to craft truly cinematic, emotionally powerful stories in Apple’s new immersive spatial format.

Luma AI’s new Ray3 video model brings high quality generative video with a fast Draft Mode a step closer to true production-ready pipelines.

Check out Apple Immersive Video in action with an exclusive download of the world’s first AVP footage shot on the camera.

Exploring the pipeline for immersive storytelling with the camera system purpose-built to create video content for the Apple Vision Pro.

NVIDIA’s DiffusionRenderer redefines neural rendering by using AI to relight, edit materials, and insert objects into real-world videos with no 3D geometry needed.

Proof Inc. reimagined post-visualization for Amazon’s The Wheel of Time, blurring the boundaries between previs, postvis, and final VFX.

The ‘Making Of’ Scanline’s VFX work on “Senna,” the Netflix series that celebrates Ayrton Senna.

Congrats to all the artists on this year’s Oscar winning films.

AI is already influencing VFX workflows, but how much of it is actually useful? What’s practical today, and what’s still evolving? The VES presents a panel on generative AI. We talk to VFX supervisor Jim Geduldick about what to expect.

Denoising and stabilising along with stunt fire gel and importantly captioning all honored in this year’s Sci-tech Awards

Congrats to all the Oscar Nominees

Congrats to all the Nominees +plus linked to interviews with each of the teams.

Congrats to the nominees in the 23rd Annual VES Awards in all 25 categories.

Civil War was hailed as one of the year’s most startling and visceral films, Framestore was an early collaborator delivering over a 1,000 shots.

Agatha All Along goes a long way with old-school digital comping, blue screen, and set extensions.

We discuss how Disguise provided the World record breakingly large LED screen for Adele in Munich.

Cinesite’s realistic action VFX work on Netflix’s The Union.

Another incredible jump in large language models (LLM) and generative AI (GenAI) but how does it affect visual effects (vfx)?

Jelmer Boskma, the VFX Supervisor at DNEG discusses the environment work in Apple TV+: Time Bandits

Each year the Sci-Tech Committee signals what they are investigating for the next year’s Awards. Here are this year’s 11 areas.

A look back at DigiPro 2024, an outstanding conference held the Saturday before the SIGGRAPH conference begins.

Machine Learning and the outcome of WWDC 24 and the IPad Pro update