It’s absolutely no surprise that blockbuster movies rely so heavily on special effects and CG all the time now. When the effects are good, it just makes more sense for the fictional world they are building and the shots they are making. But it will forever be hilarious to see the actors act out in ridiculous suits and…
In the visual effects breakdown for Agent Carter season one, there are the usual suspects: explosions, effects from mad science, action sequences. But the thing that stands out is just how many effects were needed to turn the show’s California locations into period New York ones.
When you go see a big blockbuster movie that’s been heavily done over in CG, you’re not exactly expecting reality. But you also don’t want to see huge visual effect gaffes that make you laugh at the ridiculousness of it either. Whether it’s bad practical effects like the dummy in The Fugitive or if it’s terrible vfx…
Whip ‘em out. Which science fiction movie has the biggest spaceship or station or cube thing or star planet? MetaBallStudios made this CGI video detailing the ships across movies like Star Wars and Interstellar and 2001: A Space Odyssey and even included video games like Mass Effect and real life like the ISS to see…
Digg has compiled a really cool video that looks at how we’ve used aliens in films, starting with 1902’s A Trip to the Moon and going all the way to 2014’s Guardians of the Galaxy.
Here’s an interesting video explainer that details why special effects and fancy CGI has ruined movies (or at least, made them less enjoyable). It all feels too fake! Story Brain breaks down how as technology for CGI improved and allowed movie makers to do more with visual effects, our brains interpret it negatively.
You know what happens in a real earthquake? A pause. And then slight confusion. And then frantically trying to remember what elementary school taught you on where you should go. And then panic because you don’t remember. You know what happens when you film an earthquake disaster movie such as San Andreas? Comedy.
This new featurette from the Academy of Motion Picture Arts and Sciences goes behind the epic final battle of Edge of Tomorrow. Intellectually we know there’s a lot of special effects in these movies, but it’s actually amazing how few things were actually filmed for this.
CGI appears even in the most unlikely of places. The latest is in hiding a cover-up on star Dakota Johnson with digital pubic hair. There are huge space battles and fully digital characters and this.
These days, any TV show or movie that wants to create horrors not of this world are going to rely pretty heavily on visual effects and CGI to defy the usual laws of physics. In these two videos, you can see how the ones from Constantine's episode two and episode four were built.
CGI has become wearingly dull and clichéd, argues British film critic Jonathan Romney. Not only are film spectacles more visually formulaic, but the absence of scenes depending on the exceptional skills of real human beings diminishes the "how-did-they-do-that?" factor, since we assume it was all done with a keyboard.
Today, thanks to computer graphics and digital drawing tablets, we see tons of artwork that has been made with the help of a computer. Computers and art have long gone hand-in-hand, and here you can see some of the earliest pieces of computer-assisted art.
The CG work on Rocket Raccoon in Guardians of the Galaxy is hands-down some of the best of 2014 - but now you can get up close and personal with the abrasive bounty hunter thanks to these incredible images by digital Artist Daren Horley.
Studio Ghibli's first foray into television will begin this fall with Ronia the Robber's Daughter, an animated series based on the children's book of the same name. Here's the first footage from the series (it looks like an intro sequence), which began airing this weekend.
The roots of CGI lie in the first mechanical aids to drawing and painting. The earliest of these were developed to help solve a problem every artist has found to be sticky: perspective.
The early Pixar films, like Toy Story, still feel like a miracle. And a new book excerpt shows how much of that early creativity came from a handful of guys, sitting around a pile of toys. They wanted something as different from a Disney animated movie as possible, and they had one rule: "No complacency."
In today's comments, we talked up the new season of the Walking Dead, reminisced over the best candy with the worst marketing schemes, and identified some of the pre-CGI secrets of the Star Wars special effects team.
Prepare to visit a strange new world in which cityscapes can be spun around like the layers of a Rubik's cube — and where the laws of physics no longer apply.
If only more animation studios prefaced their feature films with short cartoons, we might get more fun romps like The Colors of Evil. In this film, which Phillip Simon and Alyse Miller created as their thesis project at Ringling College of Art and Design, a wicked little girl summons a demon to deal with her…
Digital artist Victor Hugo (as far as I can tell, his real name) created this fantastic 3D image of Tony Stark hanging out in his lab. Now that Disney has its white-gloved fingers in both Marvel and Pixar, we have to ask: How isn't this already a movie?