So, VFXShow 299 decided to tackle Superman, because nothing screams “creative block” like diving into pocket universes and 2000-frame "one-take" shots. Let’s face it, when you're trying to make a guy in tights fly faster than a speeding render, who needs a coherent plot? The panel must have had a blast discussing how to make the impossible more impossible! Maybe next episode they’ll tackle how to make the script less of a black hole? Stay tuned for the next episode of “What’s Wrong with Hollywood?” #Superman #VFXShow299 #VisualEffects #FilmIndustry #CreativeBlock

It's infuriating that some people still cling to the myth that Christopher Nolan doesn’t use CGI or visual effects! This persistent urban legend is not just misleading; it undermines the incredible work done by talented artists at DNEG over the past 20 years. While Nolan's films are visually stunning, the truth is that he skillfully combines practical effects with digital enhancements. Let’s stop pretending that he’s some kind of purist—it's time to acknowledge the brilliant fusion of creativity and technology that shapes his cinematic masterpieces. This delusion only serves to dilute the real craftsmanship and innovation behind the scenes. Wake up and recognize the reality of modern filmmaking! #ChristopherNolan #DNEG #FilmIndustry #VisualEffects #CinematicTruth

The Animation Showcase has launched a collection of short films from the 2025 Annecy Festival. They’re free to watch, but only if you’re in the animation or film industry, which is a bit of a hassle. So, if you're part of that world, you might want to check it out. If not, well, there’s always something else to do. #AnimationShowcase #Annecy2025 #ShortFilms #Animation #FilmIndustry

Jurassic World: Rebirth? Really? It’s infuriating to see how this franchise continues to churn out mediocre content, relying on flashy VFX instead of a coherent storyline. The lush, danger-filled world they’re showcasing is nothing more than a glorified CGI playground! Where’s the creativity? Where’s the originality? This installment is just another cash grab, feeding off our nostalgia while serving us recycled plot lines and forgettable characters. It’s time for filmmakers to stop hiding behind technology and start delivering real substance. If they can’t do better, maybe it’s time to put this tired franchise to rest! #JurassicWorld #VFXShow #MovieCritique #DinosaurFranchise #FilmIndustry

In a world where animated dreams dance on the silver screen, Jellyfish Pictures has decided it’s time for a long nap. Yes, you read that right! The studio known for masterpieces like "How to Train Your Dragon: Homecoming" has hit the pause button on its activities, but don’t worry, it’s only temporary—because who doesn’t love a good power nap when the going gets tough? Now, one might wonder: what does it mean to “suspend” your work? Is it like putting your favorite series on hold because you just can’t handle the drama? Or perhaps it’s more akin to a toddler’s tantrum—screaming for attention before quietly retreating to a corner? It seems Jellyfish Pictures has taken a page out of the book of procrastination, choosing to hibernate while the world spins on, leaving us all to ponder the fate of animated wonders. Let’s be real here: with the current crisis looming over us like a dark cloud, every studio is feeling the pinch. But to "temporarily" suspend activities? That’s a bold move, friend. It’s almost as if they’re saying, “Hey, we’re too cool for this economy!” And who wouldn’t want to take a break? After all, we all deserve a vacation—even if it’s from our own creativity. Imagine the team at Jellyfish Pictures, lounging on beach chairs with their laptops closed, sipping piña coladas while the world clamors for the next blockbuster. “We’ll be back!” they chant, while the animation industry holds its breath, waiting for their grand return. Or is it a dramatic re-emergence, like a phoenix rising from the ashes of a crisis that they bravely “suspended” themselves from? And let’s not overlook the irony here. A studio that brings fantastical worlds to life has chosen to embrace the tranquility of inactivity. Perhaps they’re taking some time to meditate on the complexities of jellyfish—creatures that float aimlessly through life while people marvel at their beauty. A fitting metaphor, wouldn’t you say? So here’s to Jellyfish Pictures! May your time of “temporary suspension” be filled with inspiration, relaxation, and perhaps a little daydreaming about the next big hit. Just remember, while you’re out there perfecting your hibernation skills, the rest of us are still waiting for you to come back and sprinkle a little magic back into our cinematic lives. #JellyfishPictures #Animation #FilmIndustry #CrisisManagement #TemporarySuspension

It's time to call out the glaring flaws in the so-called "Latest Showreel" by the Compagnie Générale des Effets Visuels (CGEV). They tout their projects like a peacock showing off its feathers, but let's be honest: this is just a facade. The latest compilation, which includes work from films such as "The Substance," "Survivre," "Monsieur Aznavour," "Le Salaire de la Peur," and more, is nothing short of a desperate attempt to mask their shortcomings in the visual effects industry. First off, what are they thinking with the title "Mise à jour de showreel"? This isn't an update; it's a cry for help! The industry is moving at lightning speed, and CGEV seems to be stuck in the past, clinging to projects that are as outdated as a floppy disk. The world of visual effects is about innovation and pushing boundaries, yet here we have a company content with showcasing work that barely scratches the surface of creativity. And let’s talk about "Le Salaire de la Peur." If this is their crown jewel, then they are in serious trouble. The effects look amateurish at best, and it raises the question: are they even using the right technology? In an age where CGI can create stunning visuals that leave you breathless, CGEV’s work feels like a bad remnant of the early 2000s. It’s embarrassing to think that they believe this is good enough to represent their brand. Alain Carsoux, the director, needs to take a long, hard look in the mirror. Is he satisfied with this mediocrity? Because the rest of us definitely aren’t. The lack of originality and innovation in these projects is infuriating. Instead of pushing the envelope, they're settling for the bare minimum, and that’s an insult to both their talent and their audience. The sad reality is that CGEV is not alone in this trend. The entire industry seems to be plagued by a lack of ambition. They’re so focused on keeping the lights on that they’ve forgotten why they got into this business in the first place. It’s about passion, creativity, and daring to take risks. "Young Woman and the Sea" could have been a ground-breaking project, but instead, it’s just another forgettable title in an already saturated market. We need to demand more from these companies. We deserve visual effects that inspire, challenge, and captivate. CGEV needs to get its act together and start investing in real talent and cutting-edge technology. No more excuses! The audience is tired of being served mediocrity wrapped in flashy marketing. If they want to compete in the visual effects arena, they better step up their game or face the consequences of being forgotten. Let’s stop accepting subpar work from companies that should know better. The time for complacency is over. We need to hold CGEV accountable for their lack of innovation and creativity. If they continue down this path, they’ll be left behind in a world that demands so much more. #CGEV #VisualEffects #FilmIndustry #TheSubstance #Innovation