Effects teams behind 'Avengers: Endgame' and 'Captain Marvel' explain why they would never resurrect a dead actor for an MCU film.
The conclusion to Tony Stark's story in 'Avengers: Endgame' almost pushed the limits of the film's family-friendly age rating.
When Carrie Fisher passed away it was made clear that the actress wouldn’t be replaced by a new performer for the final episode in the sequel trilogy.
Whichever way you look at Sam Mendes’ new film 1917, it’s an astonishing achievement.
Director Tom Hooper opens up about the backlash to 'Cats', and admits that they altered its visual effects as a result.
Plus, watch an exclusive deleted scene, which illustrates what the movie looked like before the VFX team worked their magic.
Disney has called 'The Lion King' "a whole new medium", but where does Adam Valdez, MPC VFX supervisor stand on the debate?
"Star Wars" animation supervisor Stephen Aplin explores the cutting-room floor and fills us on what didn't make the blockbuster movie.
How they did it: A chat with visual effects artist Doug Chiang, then starting his ILM career, now a VP and executive creative director at Lucasfilm.
“Deadpool” and “Terminator Genisys” used stolen technology to create their big-screen razzle-dazzle, according to new lawsuits filed by visual-effects company Rearden. In complaints filed against Paramount Pictures and 20th Century Fox in federal court in California on Monday, Rearden claims that 2015’s “Terminator Genisys” and 2016’s “Deadpool,” among other films, employed a technology called MOVA Contour Reality Capture, which according to the suits was invented — and stolen from — Rearden.
To watch 'Men in Black' 20 years later is to see Hollywood’s transition from practical effects to CG… and to understand why filmmakers are circling back
The visual effects company on 'Pirates of the Caribbean: Salazar's Revenge' explain how the lessons they learned on 'Terminator Genisys' improved the "youthification" process that regressed Johnny Depp back to his prime.
VFX studio MPC helped Ridley Scott redefine the iconic Xenomorph and create the new Neomorph in the latest "Alien" installment.
30 years ago this month, Hollywood’s best and brightest gathered together to celebrate the greatest cinematic achievements of the year, one of which just happened to be the super-gross practical effects of David Cronenberg’s ‘The Fly’. Like the Academy honoured Seth Brundle’s grisly transformation from man to fly, we now honour the greatest and most disgusting visual effects in movie history.
The movie's visual effects mark a further evolution in the use of digitally created actors.
ILM’s newly opened London office completed over 200 VFX shots on ‘Star Wars: The Force Awakens’ and was responsible for bringing CGI characters Supreme Leader Snoke and Maz Kanata to life, but the most challenging shot they worked on involved no aliens, spaceships, or explosions. The scene in question happens partway through the film when Han, Rey, and Finn approach Maz’s castle. ILM had to stitch together three plates, shot in different locations, but it’s likely you never even noticed the shot that took ILM London over 1000 hours to create.
Tony Dyson, the British special effects artist and robotics professor responsible for bringing R2-D2 to life in ‘Star Wars’, has died aged 68. Dyson was found by police at his home in Malta after friends contacted them concerned about his wellbeing. The Emmy-nominated SFX supervisor worked on ‘Superman 2′, ‘Moonraker’, and ‘Dragonslayer’, but he’ll best be remembered for his pioneering work on bringing R2-D2 to life in the ‘Star Wars’ films.
James Bond’s latest adventure ‘Spectre’ has been praised for its use of practical effects and stunt work, but there’s actually a surprising amount of digital trickery on display that you probably never noticed. VFX supervisor Zave Jackson talks us through the work Cinesite completed. Zave Jackson: “The location for Oberhauser’s Palazzo was Blenheim Palace near Oxford.
Sir Ridley Scott’s ‘The Martian’ is storming box offices around the world and rightly so. Aside from the witty script and incredible performances from everyone involved – particularly Matt Damon’s as genius botanist Mark Watney - the film’s visual effects are simply jaw dropping. MPC has kindly provided some incredible before and after shots from the film which you can check out below. UK visual effects house Moving Picture Company worked closely with Ridley Scott to bring the red planet to life like never before.