With some interesting recent developments in the way images are post produced, the Fraunhofer Institute's work on lightfield arrays is almost ready to leave the drawing board.
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
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
The BBC has a deserved reputation for the general awesomeness of its period dramas, and one of the things that keeps them on track and within budget is a surprisingly large amount of VFX.
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.
Everyone knows about Boris Effects. And, if you're old enough, you'll remember that in the mid to late 90s, it was suddenly possible to create amazing effects and transitions on the slow and clunky NLEs of the time - that looked like they cost a million dollars to produce
For those wielding a semi-pro video camera and dreaming that one day they just might make it as the next Spielberg, look no further than Gareth Edwards and his recent monster hit, Godzilla.
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