RedShark News

Rethinking The VFX Industry

Published in Post & VFX

With the recent unfortunate news about the demise of Digital Domain Florida, and with VFX studios downsizing around the world, Redshark’s VFX Columnist HaZ Dulull looks at the reasons for this downturn.

VFX news from Europe's IBC

Published in Post & VFX

Red-shark's VFX columnist, HaZ, reports on Visual Effects developments at Amsteram's IBC this year.

Dwarf Labs: Montpellier's VFX innovators

Published in Post & VFX

Redshark’s VFX Reporter HaZ takes a trip to Montpelier to visit Dwarf Labs: a CGI animation studio in Montpellier, just off the French Mediterranean seashore. Dwarf’s ambition is to create world-class computer-generated imagery that appeals to audiences of all ages.

How to write video effects for Lightworks

Published in Technology & Computing

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.

Weta Digital is at it again! This time, the red-hot VFX house is inventing new ways to overrun the Earth with primates, as evidenced by an illuminating behind the scenes featurette for Dawn of the Planet of the Apes.

Subtle VFX in new WW2 feature film

Published in Post & VFX

We like to let you know what RedShark contributors are working on and here's a lovely example. Our VFX (Visual Effects) specialist HaZ has just finished a film as one of the VFX Supervisors working in Brussels and Amsterdam

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.

The History of VFX Part V: Optical Effects

Published in Production

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

The art of Motion Tracking

Published in Post & VFX

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

How do you make a comic book superhero film set in New York? The answer is that you don't make it in New York. Instead, you shoot it in a green-screen studio in New Mexico

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