Unmasking Visual Effects Academy

Part 1 – The Problem Camera movement is a tool used by filmmakers to add massively to scenes. To the filmmaker, camera motion can take a boring shot and turn it into an impactful moment. On the other hand, to the VFX artist, camera motion can take a straightforward shot and turn it into a

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VFX is a trade with a rich history of innovation and spectacle. In this miniseries, we’ll expose some of the core practices of a bygone age in bite-size pieces. Rear Projection How did they put actors in crazy locations before green screens came along? Rear projection was the answer that early filmmakers came up with.

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When VFX is done right (granted, this doesn’t always happen), it will be unnoticeable. In these cases those who made it should be proud to say it’s fake (unless it was already pretty obvious).

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Something that I’ve found helpful when I am making visual effects. The title is inspired by an article on a different topic by someone significantly smarter than me. Question 1 – How would this CGI affect the environment that has been captured in the footage? Question 2 – How would the environment captured in the

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Featured Image Credit – https://natrongithub.github.io/about The last (and also first) article in this series covered Fusion by Blackmagic Design, a node-based compositing program. Today as we consider Natron, you will notice some major similarities. First, we’ll take a quick look at what exactly Natron is, and then we’ll consider some major similarities and differences between

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I used to work almost exclusively in layer-based compositing systems. After Effects was one of those programs that I used, while Hitfilm by FXHOME was a personal favorite. As I continued to learn more about compositing and polishing shots, it became apparent that I needed to up my game. I decided to learn node-based compositing.

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