¿Quién necesita una pasarela de moda cuando puedes tener el San Diego Comic-Con 2025? Este evento es la Super Bowl de los disfraces, donde los cosplayers se esfuerzan por superar al vecino con su atuendo de 30 horas de trabajo y una cuenta bancaria baja. Nuestros valientes fotógrafos estuvieron allí, capturando esos momentos en los que la obsesión se encuentra con la creatividad, todo mientras los asistentes se preguntan por qué sus trajes no tienen Wi-Fi. Así que, si pensabas que tu disfraz de "típico humano" era impresionante, ¡prepárate para quedar en la sombra de un personaje de videojuego que parece haber salido directamente de un CGI de Hollywood! #Comic

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So, Stéphane Quillet, the visual effects guru from Vancouver, has decided to bless us with his “techniques and tips” after a mere 25 years of experience. Who knew that working on blockbusters like Dune 2 and The Last of Us was just practice for this moment? I mean, surely, the secret to creating stunning visuals is just a couple of tweets away. Why bother with years of hard work when you can share your wisdom in a catchy title? Can’t wait for the exclusive “How to Make Your Cat Look Like a CGI Monster” tutorial. #VisualEffects #StéphaneQuillet #Dune2 #TheLastOfUs #VancouverArtistry

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

لا أفهم كيف يمكن لفيلم مثل "Fantastic Four: First Steps" أن يجرؤ على استخدام CGI بهذا الشكل المخيف لتمثيل الطفل فرانكلين ريتشاردز. هل نعيش في عصر لا تستطيع فيه التكنولوجيا أن تقدم شيئًا أفضل من هذه الكائنات الرقمية الغريبة؟ كيف يمكن لمخرج أن يتخيل أن هذه اللقطة البشعة ستجذب الجمهور؟ إذا كان الفيلم يهدف إلى تقديم قصة مثيرة، فإنه قد فشل فشلاً ذريعًا بسبب هذه الخيارات الرهيبة. إن التصوير غير الواقعي يظهر نقصًا واضحًا في الجهد والاهتمام بالتفاصيل. هل تناسوا أن الجمهور يستحق رؤية أشياء حقيقية وليس مجرد "

Welcome to the year 2025, where we’ve traded in our old-world problems for the shiny new issues of “Planet ESIX” and its marvelously crafted “Ship MR-07.” Who needs real space exploration when you can create entire universes in Blender? Polygonal modeling, you say? How quaint! A digital ship so detailed, you might mistake it for your neighbor’s overly ambitious backyard project. Forget the hassle of gravity and atmospheric conditions—just whip up a CGI breakdown and voilà! You’re a space captain in a world where imagination is the only limit. And let’s be real, with “Cycles” rendering, we can now pretend our procrastination is actually art. Cheers to the future! #PlanetESIX #Ship

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

Ah, the FMX 2025 has kicked off in Stuttgart, a beacon of hope for those grappling with the “crisis” of creativity. Because nothing says "we're thriving" like gathering a bunch of animation and VFX pros to discuss how to escape the creative void. Who knew that the answer to our woes lay in immersive media? Maybe if we animate our problems away, they’ll disappear too! Let’s raise a toast to the 29th edition of this festival, where the theme of the day is "Let’s pretend everything is fine while we brainstorm how to fix it." I, for one, am excited to see what innovative solutions come out of this gathering—preferably in the form of a CGI superhero who

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

Ah, California! The land of sunshine, dreams, and the ever-elusive promise of tax credits that could rival a Hollywood blockbuster in terms of drama. Rumor has it that the state is considering a whopping 35% increase in tax credits to boost audiovisual production. Because, you know, who wouldn’t want to encourage more animated characters to come to life in a state where the cost of living is practically animated itself? Let’s talk about these legislative gems—Assembly Bill 1138 and Senate Bill 630. Apparently, they’re here to save the day, expanding the scope of existing tax aids like some overzealous superhero. I mean, why stop at simply attracting filmmakers when you can also throw in visual effects and animation? It’s like giving a kid a whole candy store instead of a single lollipop. Who can say no to that? But let’s pause for a moment and ponder the implications of this grand gesture. More tax credits mean more projects, which means more animated explosions, talking squirrels, and heartfelt stories about the struggles of a sentient avocado trying to find love in a world that just doesn’t understand it. Because, let’s face it, nothing says “artistic integrity” quite like a financial incentive large enough to fund a small country. And what do we have to thank for this potential windfall? Well, it seems that politicians have finally realized that making movies is a lot more profitable than, say, fixing potholes or addressing climate change. Who knew? Instead of investing in infrastructure that might actually benefit the people living there, they decided to invest in the fantasy world of visual effects. Because really, what’s more important—smooth roads or a high-speed chase featuring a CGI dinosaur? As we delve deeper into this world of tax credit excitement, let’s not forget the underlying truth: these credits are essentially a “please stay here” plea to filmmakers who might otherwise take their talents to greener pastures (or Texas, where they also have sweet deals going on). So, here’s to hoping that the next big animated feature isn’t just a celebration of creativity but also a financial statement that makes accountants drool. So get ready, folks! The next wave of animated masterpieces is coming, fueled by tax incentives and the relentless pursuit of cinematic glory. Who doesn’t want to see more characters with existential crises brought to life on screen, courtesy of our taxpayer dollars? Bravo, California! You’ve truly outdone yourself. Now let’s just hope these tax credits don’t end up being as ephemeral as a poorly rendered CGI character. #CaliforniaTaxCredits #Animation #VFX #Hollywood #TaxIncentives