We already have a pretty good idea how big the ships of Star Wars would have been if they actually existed. But Corridor decided to give us a bit more context, superimposing life-size CGI models ships over locations on Earth. The Death Star is way smaller than we thought.
YouTuber Misozi-Salaryman put together this great compilation of his swordplay and other martial arts action, and worked with editor Vasco to embellish the clip with appropriate video game style visual effects. We like to think there was some guy off camera mashing buttons.
It is the distant future… the year 2000… the robots have taken our jobs… and are dancing about it. The music video for The Chemical Brothers’ track Free Yourself, from directors DOM&NIC and effects house The Mill will take you on quite the ride. Boogie! Roboboogie!
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.
Kaptainkristian looks at how director Guillermo del Toro designs and presents monsters in his films. Using quotes from the director himself, the film essayist identifies the key elements of a del Toro monster, including transformation and the use of prosthetics and motion actors.
Corridor Crew wanted to give us a better way to visualize the scale of the size of the universe. So they shrunk Earth down to the size of a tennis ball (1:190,000,000) and compared it to the planets in our Solar System, as well as some of the biggest stars in our galaxy.
Getting from place to place in video game worlds can be a drag. Hence the inclusion of overview maps and teleportation to zip your character over long distances quickly. Nukazooka envisions same tech applied to the real world. We’d just use it to skip traffic jams.
There are real-world treatments for acne sufferers, but if you’re looking for a virtual solution, check out this demo from Rousselos Aravantinos, who shows us how he dramatically improved a model’s skin using visual effects, preserving all the proper shadows and light.
By now, just about everyone on the internet has seen the video of the Plinko-like machine that appears to magically sort thousands of colored marbles neatly into a rainbow. We always figured it was fake, and now Captain Disillusion explains how he thinks it was done.
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.
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.
Whether or not you’re an Apple fan, you’ve got to appreciate the amazing creativity in director Spike Jonze’s “Welcome Home” promo spot for the tech giant’s new HomePod speaker. We’re dying to see a BTS of how they pulled off all the stretchy practical effects.