As a writer, it's not often that I'm lost for words. But that's what happens when I try to describe Alex Roman's CGI film, The Third & the Seventh.

The blockbuster science-fiction movie look is now available to anyone with a good story, creative vision and persistance.

Have you ever heard the collective sound of several hundred people's jaws dropping? If you've been to a cinema where they're showing the Life of Pi for the first time, then you probably have

If I told you that User Interfaces play a large part in modern film-making, you might think I'm exaggerating. But I don't think I am

Holographic TV: I have to declare a bias here. The Princess Leia hologram scenes in Star Wars convinced me that we will never need holographic TV. This is nothing to do with the fact that video holograms are always depicted as being fuzzy and unstable (presumably to stop them looking real, in which case you couldn't tell they were holograms). No, my issue with them is that while real life may be 3D in the sense that you can walk around it, drama isn't.

What do I mean by this?

Holograms in the cinema

Well, imagine being in a cinema watching a holographic film. If you're sitting in the centre of the auditorium, about half way up, then it's all well and good. But if you've arrived late and you're sitting at the side, then you'll have a bad time, because none of the actors will ever look at you, unless they're making transitory, sideways glances.

That's the problem in essence. Everybody gets a different view. It's not film making: it's moving sculpture.

All of which is a scarcely relevant introduction to a news item this week about a breakthrough from the International Society for Optics and Photonics, who have managed to merge the disciplines of hologram-making and computer generated images.

It takes longer with a computer

Until now, making holograms from computer images has either been impossible or has taken far too long to be of any practical use because of the rendering times. You can only make computer holograms if you calculate an extremely large number of viewpoints for every point on the holographic object's surface - a recipe for waiting a long time for something to happen.

But now, they've found a way to use more CGI-like techniques. Instead of calculating the result at ever conceivable point, they use polygons instead, massively reducing the calculation times.

The society claims to be able to produce photorealistic holograms in reasonable timescales, and if I'm wrong about the unsuitability of Holograms for film making, then this could be the breakthrough that everyone except me has been waiting for.

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It's not just the UFO that's fake in this video - it's the car and the sky and the camera shake. In other words, the whole video is CGI. Even the pinging of the "Driver's Door Open" warning

I don't know about you but I simply can't get enough VFX and Compositing breakdowns. The reason is that special effects are now so good that you don't always know they're there. It's pretty obvious with explosions, but what's definitely not so obvious is when a whole cityscape is fabricated