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November 1, 2010, 3:58 pm
The final countdown to the AES show in San Francisco has begun and we couldn't me more excited. The convention kicks off on Thursday and we just can't wait to show off all the new releases we’ve brought to the market recently. But there’s more going on at AES than just new product show & tell. Appearing on our main stage at the Avid booth - and in workshops and panels at the show itself - there are going to be some incredible opportunities to hear professionals speaking first had about the...
March 10, 2020, 12:16 pm
Manchester based company Flipbook Studio presents their magical work on the third season of THE WORST WITCH...
March 9, 2020, 12:08 pm
Many befores & afters readers will probably know I also write as a freelancer for a bunch of other VFX, CG, animation and film publications. These include magazines such as VFX Voice and 3D World, as well as online sites like Polygon.
March 6, 2020, 5:28 pm
Come have a look at the seamless work of REAL by FAKE on the first season of Apple TV+ series, THE MORNING SHOW...
March 6, 2020, 2:51 pm
In this week's Friday Free Plug-in, we are featuring Filter from Noiiz. The Noiiz Filter is a simple filter plugin with analogue modelling DSP, a unique noise generator and a fat overdrive circuit, this might become your go to sound sculpting filter.
March 5, 2020, 8:41 pm
Sony Pictures Imageworks have released this making of about the creation of the desert sequence explained by VFX Supervisor Jason Greenblum for JUMANJI – THE NEXT LEVEL...
March 5, 2020, 8:41 pm
As a third-generation special effects supervisor, Jeremy Hays grew-up in the movie industry, witnessing firsthand a variety of filmmaking approaches that were sometimes successful, but often times not. His own resume is diverse, ranging from Hearts in Atlantis, to The Equalizer, to Once Upon a Time…in Hollywood, where he also makes a cameo as a flamethrower trainer. And for Hays, failure is always a learning experience. “On any film, what I do first is analyze the creative elements and then talk with the director, producers, or writers, to get an idea of what their focus points are,” he explains. “When designing a special effect, you want it to fail a few times in the shop before actually doing it in front of a camera. Having an effect that is 80 percent effective right out of the gate can be misleading, as that might be as far as it will ever get. Some projects that are fast paced don’t allow you time to test, so you have to tap into the experience of all those failed jobs that make you go, ‘That’s not going to work.’ Through those failures, you increase your proficiency and accuracy.”
March 4, 2020, 1:14 pm
Open up our 40th anniversary celebration issue, Cinefex 169, and you’ll find The Illusionists, a giant roundtable discussion in which 21 Oscar-winning visual effects supervisors debate the past, present and future of cinematic illusions. We recorded over 14 hours of interview material for the article, and inevitably some of it ended up on the cutting room floor. In this series of short blogs, we’re pleased to share a few of our favorite outtakes. To read the full roundtable, pick up your copy of Cinefex 169.
March 3, 2020, 5:25 pm
We have two reviews today: one for Ozone 9 Advanced and one for Ozone 9. The first is from MusicRadar. The second is from MusicTech.
March 3, 2020, 5:25 pm
If you like Bayhem and crazy action sequences, then be sure to watch this VFX Showreel by Scanline VFX about their work on 6 UNDERGROUND...
March 3, 2020, 2:10 pm
One of the big frustrations that we all have is — we want more money. Anytime we want a pay bump, we have to wait for our annual review and see if we get a salary increase at our main job. Yet we spend our spare time doing something more creative because we aren’t being challenged at work. We go home to do the work that we find fulfilling in the first place.
The filmmakeru.com team explores the history of color in film in our series Birth of an Art. From coloring in single frames ...
Gordon sits down with Ivan Victor to discuss his work editing 68 Whiskey.
Gordon sits down to discuss the VFX of The Lion King with VFX supervisor Rob Legato
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