Have you ever thought about the close connection between electric guitars and modern post production techniques? It's just possible that you haven't. After all, resemblance between a Marshall amplifier and DaVinci colour grading console is minimal, to say the least
Andy Stout concludes his look at over a century of VFX in the movies with a glimpse at the pre-digital practical tools and the techniques that have been used over the decades to make an audience's collective jaw hit the floor
This Month there has been a lot of chatter on the Visual effects social media channels about the new iPad app, Setellite, that was released a few weeks ago. HaZ, our VFX correspondent talked to the developers in Amsterdam
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
In the third instalment in our series looking at the development of VFX in films, Andy Stout looks at the rise of the computers and takes us from the basic (TRON) to the frankly sometimes terrifying (Jurassic Park)
Anyone working with digital tools today has a wide choice of applications for specialized tasks. An office suite consists of a program for writing text, one for spreadsheets, presentations, a database etc. For a VFX workflow you might use a tool for tracking, one for compositing, one for editing, various tools for simulations and specialized applications for modelling, sculpting, texturing and animation. RedShark contributor and Blender expert Gottfried Hoffmann reports
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.