Smash works inside a locomotive, powering the engine with his partner Grab. He’s tired of doing the same thing over and over again, and more importantly if being literally tied down to his job. So when he sees an opportunity to escape, he doesn’t hesitate.
Alvaro Gracia Montoya of MetaBallStudios likes to demonstrate the relative sizes of various objects. In their latest video, they start out with a 1.4″ tall paleolithic statue all the way up to India’s colossal 787 foot-tall Statue of Unity. And here we thought Mount Rushmore was huge.
Game developer Nimso Ny presents his vision for a remaster of Super Mario 64. He made all of the models, textures, and animations from scratch. It covers only the castle area, but it’s so well made, we’d love to see the whole game. Windows users can download it here.
Researchers from NVIDIA demonstrate “A Style-Based Generator Architecture for Generative Adversarial Networks,” which is a fancy way of describing artificial intelligence that’s capable of creating human face variants and other objects that never actually existed in real life.
These days, we’re accustomed to such seamless and realistic visual effects on the big screen and even some TV series that we’ve become pretty jaded by CGI. But one look at Diane Bullock’s reel of 1990’s movie VFX should serve as a reminder of just how good we’ve got it today.
Video artist, music and comedy producer Nick DenBoer’s wild and crazy CG animation work can be seen in TV shows, music videos, and commercials. His latest showreel is packed with so much insanity that we couldn’t resist sharing it as a standalone work of entertainment.
Digital art and design collective Universal Everything uses a series of human motion studies to envision a new sort of interactive modeling interface, which could allow multiple participants to sculpt objects from “smart matter.” It also doubles as a dance piece.
Most of the footage of SpaceX’s rockets are shot from far away, with little to no context to their size. Corridor Crew thought it would be nice to stack them up next to buildings so we can appreciate just how amazing it is that these babies can land and be reused.
(PG-13: Language, Gore) A stranger finds himself in a Wild West saloon, and has a run-in with a local who doesn’t understand who he’s messing with. What School of Visual Arts students Andy Tai and Eduardo Enriquez’s animated short lacks in depth, it makes up for in style.
Wired spoke with Method Studios’ Visual Effects Supervisor Daryl Sawchuk for a glimpse at how the company made the visual effects for Black Panther‘s suits as well as the climactic battle. It never ceases to amaze us how much of movies these days are CGI.
Captain Disillusion takes on another seemingly impossible viral video, though it takes him at least 37 seconds before he’s able to figure out how motion artist Kiyan Forootan pulled off the illusion of a see-through dancing character. Basically, Kiyan is a computer graphics master.
A brief look at the latest in CGI tech, which allows an actor to take on a synthetic role in real-time, capturing every nuance of the performer’s movements and projecting them onto a virtual avatar. Demo by Unreal Engine, 3Lateral, Cubic Motion, Tencent, and Vicon.