befores & afters
By Ian Failes
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Category: TV & Film
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Subscribers: 8
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Episodes: 159
Description
The befores & afters VFX podcast from journalist Ian Failes, covering the latest in visual effects, animation and virtual production.
| Episode | Date |
|---|---|
|
Visual effects problem solving: the dinosaurs of '65'
|
May 20, 2024 |
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Chris Nichols on Chaos' new adventure in virtual production
|
May 11, 2024 |
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Going from VFX artist to short film director
|
May 06, 2024 |
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Making slimer, a sewer dragon and those Mini-Pufts for 'Frozen Empire'
|
Apr 28, 2024 |
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Tim Landry reflects on his time at Dream Quest and at Disney Imagineering
|
Apr 22, 2024 |
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How the animatronic baby from 'The Matrix' was made
|
Apr 15, 2024 |
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'Godzilla x Kong: The New Empire' VFX supervisor Alessandro Ongaro
|
Apr 12, 2024 |
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Yeti creator Colin Doncaster on the challenges of VFX software development
|
Apr 08, 2024 |
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What you didn't know about how that helicopter rescue in 'The Matrix' was filmed
|
Apr 01, 2024 |
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Preview the big sessions of FMX 2024 with Mario Müller
|
Mar 28, 2024 |
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Eyeline Studios' new tech volumetric capture tech used on 'YuYu Hakusho'
|
Mar 25, 2024 |
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The stuntvis behind that stunning oner 'Guardians of the Galaxy Vol. 3'
|
Mar 18, 2024 |
|
Virtual sets in Doctor Who
|
Mar 10, 2024 |
|
Going from greenscreen buck to soaring creature
|
Mar 04, 2024 |
|
A new kind of VFX collective emerges with Dream Machine FX
|
Feb 25, 2024 |
|
How Cartoon Saloon got to play in the Star Wars universe
|
Feb 19, 2024 |
|
The effects of 'Napoleon' were so convincing, Ridley Scott thought they had killed a stunt performer
|
Feb 12, 2024 |
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'Oppenheimer' special effects supervisor Scott Fisher on what the Trinity Test explosions in the film were made of
|
Feb 03, 2024 |
|
The crazy, intricate work behind DNEG's VFX for 'NYAD'
|
Jan 29, 2024 |
|
David Silverman on the influence of music, and how he got started on ‘The Simpsons’
|
Jan 21, 2024 |
|
The virtual production tech behind the new ‘Ted’ television series
|
Jan 14, 2024 |
|
Behind the scenes of Aardman's 'I Am Your Mother' Star Wars: Visions short
|
Jan 07, 2024 |
|
How Framestore turned Hugh Grant into an Oompa Loompa for 'Wonka'
|
Dec 28, 2023 |
|
Hugo Guerra on directing his ZEISS CinCraft Scenario film
|
Dec 18, 2023 |
|
Wētā Workshop's Richard Taylor on crafting the horrifying creature in 'The Tank'
|
Dec 11, 2023 |
|
How they made this music video by painting the talent silver
|
Dec 04, 2023 |
|
Nick Dudman on the make-up effects and creatures in s2 of 'The Wheel of Time'
|
Nov 27, 2023 |
|
How the live-action plate shoots worked for nature documentary series 'Life on our Planet'
|
Nov 20, 2023 |
|
The Wheel of Time: how do you make a fiery dragon?
|
Nov 13, 2023 |
|
Celebrating 30 years of Digital Domain
|
Nov 06, 2023 |
|
Making a Star Wars short: the creative process behind 'Sith'
|
Oct 30, 2023 |
|
Genetically re-engineered samurai dinosaurs! The making of 'KYORYU'
|
Oct 24, 2023 |
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How to make a CG Idris Elba
|
Oct 12, 2023 |
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Here's what actually goes into making a talking animal movie
|
Oct 08, 2023 |
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Celebrating 25 years of PDI's Antz
|
Oct 01, 2023 |
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Behind the biggest VFX scenes in 'Foundation' s2
|
Sep 25, 2023 |
|
You might be surprised how Tinkerbell in 'Peter Pan & Wendy' was made
|
Sep 18, 2023 |
|
VFX supe Mike Fink looks back at Batman Returns, bamf'ing and Golden Compass bears
|
Sep 10, 2023 |
|
The Third Floor’s Casey Schatz on simulcam, motion bases and the eyeline system on 'Avatar The Way of Water'
|
Sep 03, 2023 |
|
'Andor' production visual effects supervisor Mohen Leo on designing VFX shots
|
Aug 23, 2023 |
|
Behind the scenes of 'Wednesday', its on-set performer for Thing, and complex creature effects
|
Aug 22, 2023 |
|
ILM's Grady Cofer and Hal Hickel break down the visual effects in s3 of 'The Mandalorian'
|
Aug 20, 2023 |
|
How the astonishing real and mech dog in 'The Nevers' was made
|
Aug 15, 2023 |
|
How beloFX used Unreal Engine for their rooftop shots in 'The Last of Us'
|
Aug 13, 2023 |
|
A comprehensive update on the state of play of Wētā Tools at Unity
|
Aug 07, 2023 |
|
Ted Lasso's football matches were made on a 'stand-in' field, with greenscreen, crowd sprites and other VFX
|
Aug 06, 2023 |
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How they made that spectacular Harrison Ford bus/train jump in 'The Fugitive' with optical front projection tech
|
Jul 30, 2023 |
|
Special effects supervisor Gerd Nefzer reflects on the practical effects of 'Dune'
|
Jul 24, 2023 |
|
The incredible scale, forced perspective, in-camera and invisible effects in 'I'm A Virgo'
|
Jul 16, 2023 |
|
Blowing up model airplanes for a film (against hobby shop owner wishes!)
|
Jul 09, 2023 |
|
Imagining a singing, dancing croc on set with Actor Capture
|
Jul 07, 2023 |
|
Making miniatures and props for 'Asteroid City'
|
Jul 02, 2023 |
|
Looking back at the early innovative VFX in commercials with Eric Durst
|
Jun 25, 2023 |
|
The Left Angle founders discuss new comp and mograph tool Autograph
|
Jun 18, 2023 |
|
Virtual production on an indie budget
|
Jun 12, 2023 |
|
How Monkey Chow made these mocap action clips for ActorCore
|
Jun 09, 2023 |
|
'The Last of Us' VFX supervisor Alex Wang talks clickers, environments and THOSE giraffes
|
Jun 04, 2023 |
|
How 'Andor's' real London locations were the basis of Coruscant finals
|
May 29, 2023 |
|
How 'Handmaid's Tale' used virtual production to plan a train station scene
|
May 22, 2023 |
|
How this short film was a test bed for rigging and stylization tools, and new real-time compositing in Unreal Engine
|
May 15, 2023 |
|
The process of postvis on 'Cocaine Bear'
|
May 08, 2023 |
|
Bringing 'Matilda' to life with more VFX than you might at first realize
|
Apr 29, 2023 |
|
Treating ships like characters in the final episode of 'Star Trek: Picard'
|
Apr 23, 2023 |
|
Urban Bradeško, aka the Explosions Guy, talks sparse GPU accelerated volumetric fluid solver Axiom
|
Apr 16, 2023 |
|
A preview of FMX with Mario Müller
|
Apr 11, 2023 |
|
Making vampire chimps for 'Let the Right One In'
|
Apr 11, 2023 |
|
The history of markerless motion capture company Move.ai
|
Apr 09, 2023 |
|
VFX supe and director Adam Valdez on making the UE5 short 'Brave Creatures' with new real-time tech
|
Mar 30, 2023 |
|
VFX supe Russell Dodgson explores three seasons of 'His Dark Materials' magic
|
Mar 26, 2023 |
|
How to plan for huge VFX sequences: the VFX supe and VFX producer on 'Slumberland'
|
Mar 19, 2023 |
|
How Blender Studio's latest film, with a realistic human character, was made
|
Mar 13, 2023 |
|
A deep dive into Cinesite's visual effects for 'Wakanda Forever'
|
Mar 05, 2023 |
|
How they make the fire in 'Fire Country'
|
Feb 26, 2023 |
|
Go in-depth on the visual effects by Fuse FX for 'Wendell & Wild'
|
Feb 20, 2023 |
|
How the VFX for 'All Quiet on the Western Front' were made
|
Feb 13, 2023 |
|
Digital people, CG water, miniatures, morphing: 'Titanic' had it all
|
Feb 06, 2023 |
|
Where do I find befores & afters VFX content? Your handy guide is here.
|
Jan 31, 2023 |
|
'The Voice in the Hollow' is an Unreal Engine short with a difference
|
Jan 22, 2023 |
|
Framestore on designing an immersive exhibition for the Science Museum in London
|
Jan 16, 2023 |
|
Scott Eaton on the state of A.I. in art
|
Jan 08, 2023 |
|
Ending the world (multiple times) for 'The End is Nye'
|
Jan 02, 2023 |
|
The invisible effects of The Northman
|
Dec 20, 2022 |
|
The VFX behind the forging of the Three Rings in 'The Rings of Power'
|
Dec 13, 2022 |
|
#VFXInsight: How Reallusion's automatic character rigging app AccuRIG came to be
|
Dec 05, 2022 |
|
From 'Gravity' tethers to Ragdoll Dynamics
|
Nov 30, 2022 |
|
Access:VFX has expanded
|
Nov 22, 2022 |
|
Rob Bredow on the state of play of virtual production at ILM
|
Nov 14, 2022 |
|
Kevin Baillie on the virtual production of 'Pinocchio'
|
Nov 07, 2022 |
|
How to build a CG mountain lion (and make it attack Kevin Hart)
|
Nov 01, 2022 |
|
Pinocchio: going from virtual production to VFX
|
Oct 20, 2022 |
|
Making a CG zoetrope for a Pharrell Williams music video
|
Oct 17, 2022 |
|
Wētā FX on the tricky task of crafting battling Asgardian kids in Thor: Love and Thunder
|
Oct 10, 2022 |
|
How DNEG Animation gave 'Entergalactic' its stylized look
|
Oct 06, 2022 |
|
Solving a 3D boat scan was a big part of Industrial Pixel's beginnings
|
Sep 28, 2022 |
|
Rose Duignan and Hal Hickel on the history of ILM
|
Sep 16, 2022 |
|
The AI tool used to redub F-bombs and go from an R rating to PG-13
|
Sep 08, 2022 |
|
How FuseFX built ships and creatures, and de-aged Dolly Parton for s3 of 'The Orville'
|
Aug 30, 2022 |
|
Rising Sun Pictures VFX supe Dan Bethell on 'Thor: Love and Thunder'
|
Aug 18, 2022 |
|
Behind the lighting tech behind those stunning scenes in Ragnarok and Love and Thunder
|
Aug 10, 2022 |
|
The creatures of 'Resident Evil'
|
Aug 05, 2022 |
|
This new RenderMan Walking Teapot short film pays homage to an animated classic
|
Jul 30, 2022 |
|
Making a bird skull god and a hippo god for 'Moon Knight'
|
Jul 30, 2022 |
|
How all those sparks in Pixar's 'Lightyear' were created
|
Jul 30, 2022 |
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The main on end titles for 'Moon Knight'
|
Jul 30, 2022 |
|
NVIZ on the previs of 'Morbius'
|
Jul 30, 2022 |
|
ftrack's Fredrik Limsater on the state of play of production tracking
|
Jul 30, 2022 |
|
Moving from VFX to games: meet Blinkmoon
|
Jul 30, 2022 |
|
The practical and digital effects of 1997's 'Anaconda'
|
Jul 30, 2022 |
|
Concept designer Ben Mauro on building his HUXLEY universe
|
Jul 30, 2022 |
|
The VFX art department: a chat with Cinesite's Madeleine Scott-Spencer
|
Jul 30, 2022 |
|
Zendaya and Tom Holland's wire work, digi-doubles, and the art of comp'ing hair
|
Jul 30, 2022 |
|
The evolution of Richard Linklater's rotoscoped animation films
|
Jul 30, 2022 |
|
De-ageing, destruction and other digital effects in ‘The Adam Project’
|
Jul 30, 2022 |
|
The virtual production behind the pirate ship scenes in 'Our Flag Means Death'
|
Jul 30, 2022 |
|
Pixar's Danielle Feinberg on the studio's new tech in 'Turning Red'
|
Jul 30, 2022 |
|
From VFXer to trucker: Louis Katz's story
|
Jul 30, 2022 |
|
'Wheel of Time' VFX supe Julian Parry on designing the One Power
|
Jul 30, 2022 |
|
The art and tech behind 'The Witcher's' Nivellan
|
Jul 30, 2022 |
|
What it's like to work on the VFX for a Super Bowl spot
|
Jul 30, 2022 |
|
Douglas Trumbull on his plan to change cinema
|
Jul 30, 2022 |
|
VFX supervisor Scott Stokdyk on the digital human breakthroughs in 'Spider-Man 2'
|
Jul 30, 2022 |
|
VFX supervisor Kaitlyn Yang on starting a VFX studio, diversity in VFX and more
|
Jul 30, 2022 |
|
Pipeline, tools and tech with Cinesite
|
Jul 30, 2022 |
|
The making of SideFX's new renderer, Karma
|
Jul 30, 2022 |
|
Behind the scenes of 'My Universe' from Coldplay x BTS
|
Jul 30, 2022 |
|
The visualization tools and techniques behind The Third Floor
|
Jul 30, 2022 |
|
The FreeMoCap Project
|
Jul 30, 2022 |
|
How Halon previs'd 'Free Guy'
|
Jul 30, 2022 |
|
Christos Obretenov on the new wave of stylized rendering
|
Jul 30, 2022 |
|
How do you edit a live action/CG hybrid film?
|
Jul 30, 2022 |
|
How a deep learning renderer was used to re-animate a character's lines in 'Free Guy'
|
Jul 30, 2022 |
|
Facial capture, CG and cut scenes on Codemasters’ 'F1 2021'
|
Jul 30, 2022 |
|
Framestore's FIRA for portable real-time rig deformation
|
Jul 30, 2022 |
|
Where are we at with virtual production?
|
Jul 30, 2022 |
|
The first model or miniature
|
Jul 30, 2022 |
|
The first film to use an all-CG photoreal character
|
Jul 30, 2022 |
|
The first digital wire removal on a film
|
Jul 30, 2022 |
|
The first digital matte painting
|
Jul 30, 2022 |
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The first digital face replacement in a film
|
Jul 30, 2022 |
|
25 years of Foundry
|
Jul 30, 2022 |
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The first motion capture used in a film
|
Jul 30, 2022 |
|
The first motion control shot in a film
|
Jul 30, 2022 |
|
The first NLEs and digital editing, with Evan Schiff
|
Jul 30, 2022 |
|
The first Nuke composite
|
Jul 30, 2022 |
|
The first ocean simulation in a film
|
Jul 30, 2022 |
|
The first previs for a film
|
Jul 30, 2022 |
|
The first stop-motion
|
Jul 30, 2022 |
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The first use of chrome balls
|
Jul 30, 2022 |
|
What was the first film to use Houdini?
|
Jul 30, 2022 |
|
The first cloud tank
|
Jul 30, 2022 |
|
Paul Debevec on Light Stage 3
|
Jul 30, 2022 |
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How the 'Harry Potter' miniature Hogwarts Castle was made
|
Jul 30, 2022 |
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Shane Mahan on the practical Dilophosaurus in 'Jurassic Park'
|
Jul 30, 2022 |
|
Phil Tippett on RoboCop's ED-209
|
Jul 30, 2022 |
|
The alpha channel and Alvy Ray Smith
|
Jul 30, 2022 |
|
Elastic Reality
|
Jul 30, 2022 |
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The Bullet Time rig from The Matrix
|
Jul 30, 2022 |
|
The Dinosaur Input Device
|
Jul 30, 2022 |
|
Welcome to the befores & afters podcast!
|
Jul 30, 2022 |