Having charted the story of VFX in cinema in the first four parts, Andy Stout turns his attention to detailing the various techniques used over the past century, starting with optical effects. Dismiss them at your peril; after all this is how they made 2001
Good CGI is so realistic that you don't always know when you're looking at it. So, Ironically, CGI artists take it as a compliment when their work goes unnoticed.
In the final installment of Peter Jackson’s video blog, the director introduces The Hobbit’s post crew, while the team scrambles to complete the film.
You really can't believe what you see these days. And that's even more true for historically-set dramas where to recreate authentic 360 degree retro environments would be so expensive as to severly limit the scope of the productions
Recently at Red Shark Towers a friend sent us a link to an HD scan of the title sequence from the iconic UK children's TV series, Thunderbirds. Proving that smooth CGI and eye-popping VFX isn't always necessary, this show has obsessed generations in the UK, despite the fact that it was essentially a puppet show with a few explosions in.
Andy Stout begins our new six-part series looking at the history of VFX in cinema back where it all started, with early pioneers such as Georges Melies developing the optical effects that Orson Welles would use to such dramatic effect nearly half a century later.
From World War II to the 1980s, the model men and the optical effects units held sway in the world of movie VFX. Computers were on the way, but first the world's effects teams had to deal with the little problem of colour. By Andy Stout.