CGI animator Seth Worley shows us how to replicate the creepy Mind Flayer and its accompanying red lightning storm from Stranger Things using Adobe After Effects and a handful of Red Giant’s useful visual effects plugins. Now he needs to make the season 3 version of the monster inside of Starcourt Mall.
Freestyle MTB rider Matt Jones shows off some epic tricks out in the forest in Red Bull’s beautifully shot short film which uses rotoscoped multiple exposures to peer into Matt’s mind as he works out and improves each maneuver. That loop de loop was totally sick.
Mocking footage of Boston Dynamics taunting its Atlas robot, The VFX artists at Corridor envision a robotics company that subjects its humanoid robots to all kinds of indignities during testing. While Bosstown Dynamics’ robot has a high threshold for humiliation, he eventually snaps. Behind the scenes video here.
Star Wars Episode IV: A New Hope came out in May, 1977. A few months later, ABC aired this gem, a one-hour behind-the-scenes special which went inside the production, with hosts C-3PO and R2-D2. It’s a wonderful watch for any fan of the franchise, and serves as a great time capsule of pre-CGI visual effects.
FXItInPost took a famous sequence from A New Hope, and reworked with new footage, clever editing, and VFX to make the battle between Obi-Wan Kenobi and Darth Vader far more thrilling. It’s impressive, but we couldn’t help but think about George Lucas endlessly reworking his classics.
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.
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.