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
For most of the history of film, if you wanted to insert something into the picture that didn't exist, the camera had to be stationary. Motion tracking allows artificial objects to be inserted convincingly into real footage. Phil Rhodes explains
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
Here's a great video that shows the intensive research and development that goes into creating an iconic VFX shot
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.
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.
Gary Hango, an expert in video effects and processing, is also an enthusiastic Lightworks user. In part 2 of this series, he introduces the language Lightworks uses to create video effects, and shows how you can write your own.