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.
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
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.
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
By doing despicable things to your video data, the results can be wonderful
Every film-maker starting out wants to make the best short film, and get the best people and equipment to make it happen - but often with little or no budget at all, all in the hope that the idea is strong enough to get investors and potential co-workers to commit.