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
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
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.
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.
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.
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
From World War II to the 1980s, the model men and the optical effects units held sway in the world of movie VFX. Computers were on the way, but first the world's effects teams had to deal with the little problem of colour. By Andy Stout.
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