• 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
    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
    VFXShow 298: Jurassic World: Rebirth
    The guys take a journey into the lush, danger-filled world of Jurassic World: Rebirth, the latest installment in the iconic dinosaur franchise.
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  • VFXShow 296: Mission: Impossible – The Final Reckoning

    Ethan Hunt and the IMF team race against time to find a rogue artificial intelligencethat can destroy mankind.
    AI, IMF & VFX: A Mission Worth Rendering
    In the latest episode of The VFXShow podcast, hosts Matt Wallin, Jason Diamond, and Mike Seymour reunite to dissect the spectacle, story, and seamless visual effects of Mission: Impossible – The Final Reckoning.
    As the eighth entry in the franchise, this chapter serves as a high-stakes, high-altitude crescendo to Tom Cruise’s nearly 30-year run as Ethan Hunt,  the relentless agent of the Impossible Mission Force.
    Cruise Control: When Practical Meets Pixel
    While the narrative revolves around the existential threat of a rogue AI known as The Entity, the real heart of the film lies in its bold commitment to visceral, real-world action. The VFX team discusses how Cruise’s ongoing devotion to doing his own death-defying stunts, from leaping between bi-planes to diving into the wreckage of a sunken submarine,  paradoxically increases the importance of invisible VFX. From seamless digital stitching to background replacements and subtle physics enhancements, the effects work had to serve the story without ever betraying the sense of raw, in-camera danger.
    Matt, Jason, and Mike explore how VFX in this film plays a critical supporting role, cleaning up stunts, compositing dangerous sequences, and selling the illusion of globe-spanning chaos.
    Whether it’s simulating the collapse of a Cold War-era submarine, managing intricate water dynamics in Ethan’s deep-sea dive, or integrating AI-driven visualisations of nuclear catastrophe, the film leans heavily on sophisticated post work to make Cruise’s practical stunts feel even more grounded and believable.
    The team also reflects on the thematic evolution of the franchise. While the plot may twist through layers of espionage, betrayal, and digital apocalypse, including face-offs with Gabriel, doomsday cults, and geopolitical brinkmanship,  it is not the team’s favourite MI film. And yet, they note, even as the story veers into sci-fi territory with sentient algorithms and bunker-bound AI traps, the VFX never overshadows the tactile performance at the film’s centre.
    Falling, Flying, Faking It Beautifully
    For fans of the franchise, visual effects, or just adrenaline-fueled cinema, this episode offers a thoughtful cinematic critique on how modern VFX artistry and old-school stuntwork can coexist to save a film that has lost its driving narrative direction.
    This week in our lineup isMatt Wallin *            @mattwallin    www.mattwallin.com
    Follow Matt on Mastodon: @Jason Diamond  @jasondiamond           www.thediamondbros.com
    Mike Seymour   @mikeseymour             www.fxguide.com. + @mikeseymour
    Special thanks to Matt Wallin for the editing & production of the show with help from Jim Shen.
    #vfxshow #mission #impossible #final #reckoning
    VFXShow 296: Mission: Impossible – The Final Reckoning
    Ethan Hunt and the IMF team race against time to find a rogue artificial intelligencethat can destroy mankind. AI, IMF & VFX: A Mission Worth Rendering In the latest episode of The VFXShow podcast, hosts Matt Wallin, Jason Diamond, and Mike Seymour reunite to dissect the spectacle, story, and seamless visual effects of Mission: Impossible – The Final Reckoning. As the eighth entry in the franchise, this chapter serves as a high-stakes, high-altitude crescendo to Tom Cruise’s nearly 30-year run as Ethan Hunt,  the relentless agent of the Impossible Mission Force. Cruise Control: When Practical Meets Pixel While the narrative revolves around the existential threat of a rogue AI known as The Entity, the real heart of the film lies in its bold commitment to visceral, real-world action. The VFX team discusses how Cruise’s ongoing devotion to doing his own death-defying stunts, from leaping between bi-planes to diving into the wreckage of a sunken submarine,  paradoxically increases the importance of invisible VFX. From seamless digital stitching to background replacements and subtle physics enhancements, the effects work had to serve the story without ever betraying the sense of raw, in-camera danger. Matt, Jason, and Mike explore how VFX in this film plays a critical supporting role, cleaning up stunts, compositing dangerous sequences, and selling the illusion of globe-spanning chaos. Whether it’s simulating the collapse of a Cold War-era submarine, managing intricate water dynamics in Ethan’s deep-sea dive, or integrating AI-driven visualisations of nuclear catastrophe, the film leans heavily on sophisticated post work to make Cruise’s practical stunts feel even more grounded and believable. The team also reflects on the thematic evolution of the franchise. While the plot may twist through layers of espionage, betrayal, and digital apocalypse, including face-offs with Gabriel, doomsday cults, and geopolitical brinkmanship,  it is not the team’s favourite MI film. And yet, they note, even as the story veers into sci-fi territory with sentient algorithms and bunker-bound AI traps, the VFX never overshadows the tactile performance at the film’s centre. Falling, Flying, Faking It Beautifully For fans of the franchise, visual effects, or just adrenaline-fueled cinema, this episode offers a thoughtful cinematic critique on how modern VFX artistry and old-school stuntwork can coexist to save a film that has lost its driving narrative direction. This week in our lineup isMatt Wallin *            @mattwallin    www.mattwallin.com Follow Matt on Mastodon: @Jason Diamond  @jasondiamond           www.thediamondbros.com Mike Seymour   @mikeseymour             www.fxguide.com. + @mikeseymour Special thanks to Matt Wallin for the editing & production of the show with help from Jim Shen. #vfxshow #mission #impossible #final #reckoning
    WWW.FXGUIDE.COM
    VFXShow 296: Mission: Impossible – The Final Reckoning
    Ethan Hunt and the IMF team race against time to find a rogue artificial intelligence (why is AI always the bad guy now if films? ) that can destroy mankind. AI, IMF & VFX: A Mission Worth Rendering In the latest episode of The VFXShow podcast, hosts Matt Wallin, Jason Diamond, and Mike Seymour reunite to dissect the spectacle, story, and seamless visual effects of Mission: Impossible – The Final Reckoning. As the eighth entry in the franchise, this chapter serves as a high-stakes, high-altitude crescendo to Tom Cruise’s nearly 30-year run as Ethan Hunt,  the relentless agent of the Impossible Mission Force. Cruise Control: When Practical Meets Pixel While the narrative revolves around the existential threat of a rogue AI known as The Entity, the real heart of the film lies in its bold commitment to visceral, real-world action. The VFX team discusses how Cruise’s ongoing devotion to doing his own death-defying stunts, from leaping between bi-planes to diving into the wreckage of a sunken submarine,  paradoxically increases the importance of invisible VFX. From seamless digital stitching to background replacements and subtle physics enhancements, the effects work had to serve the story without ever betraying the sense of raw, in-camera danger. Matt, Jason, and Mike explore how VFX in this film plays a critical supporting role, cleaning up stunts, compositing dangerous sequences, and selling the illusion of globe-spanning chaos. Whether it’s simulating the collapse of a Cold War-era submarine, managing intricate water dynamics in Ethan’s deep-sea dive, or integrating AI-driven visualisations of nuclear catastrophe, the film leans heavily on sophisticated post work to make Cruise’s practical stunts feel even more grounded and believable. The team also reflects on the thematic evolution of the franchise. While the plot may twist through layers of espionage, betrayal, and digital apocalypse, including face-offs with Gabriel, doomsday cults, and geopolitical brinkmanship,  it is not the team’s favourite MI film. And yet, they note, even as the story veers into sci-fi territory with sentient algorithms and bunker-bound AI traps, the VFX never overshadows the tactile performance at the film’s centre. Falling, Flying, Faking It Beautifully For fans of the franchise, visual effects, or just adrenaline-fueled cinema, this episode offers a thoughtful cinematic critique on how modern VFX artistry and old-school stuntwork can coexist to save a film that has lost its driving narrative direction. This week in our lineup is (or are they really??) Matt Wallin *            @mattwallin    www.mattwallin.com Follow Matt on Mastodon: @[email protected] Jason Diamond  @jasondiamond           www.thediamondbros.com Mike Seymour   @mikeseymour             www.fxguide.com. + @mikeseymour Special thanks to Matt Wallin for the editing & production of the show with help from Jim Shen.
    0 Yorumlar 0 hisse senetleri 0 önizleme
  • fxpodcast: Union VFX’s work on Black Mirror Season 7 – USS Callister

    In this episode of the fxpodcast, we speak with David Schneider, senior DFX supervisor, and Jane Hayen, 2D supervisor from Union VFX, to discuss their extensive visual effects work on the USS Callister episode for Black Mirror season 7. From spacecraft interiors to stylised teleportation and frenetic dogfights in deep space, the duo outlined how their team brought The USS Callister back with upgraded tech, intricate referencing to the original episode, and a keen eye for the audience’s expectations.
    In addition to the audio podcast, we’ve been creating YouTube videos of many of our fxpodcast episodes and this one is available in video form as well.

    Returning to the world of Black Mirror’s iconic “USS Callister,” the latest Season 7 installment pushes visual storytelling into new territory. With over 215 shots, 50 of which are fully CGI. Union VFX stepped in to bring the pixel-perfect dystopia to life. The episode features some of the studio’s most ambitious work to date, blending nostalgic retro-futurism with cutting-edge CG in a cinematic-scale production that feels more like a feature film than episodic television.

    Referencing the Original While Evolving the Visual Language
    One of the standout aspects of Union VFX’s approach was the conscious effort to bridge the look and feel of the original Season 4 Callister episode while modernising its visual language. “We were always referencing back,” said Hayen. “Even small things like lens flares had to match. The original had a slightly vintage aesthetic; this one leaned more into a stylised video game feel.”
    With Framestore having crafted the original ship assets, Union VFX inherited and upgraded these elements. “We reused the Calister’s CG model and textures from Framestore,” Schneider explained. “But a big chunk of our work was new, especially around the ‘Heart of Infinity,’ which didn’t exist before and needed to evolve into something iconic.”

    Building the Heart of Infinity and Space Combat
    At the narrativecore of the episode is the Heart of Infinity, a massive, ominous space structure concealing a digital ghost. Union VFX collaborated closely with director Toby Haynes and Black Mirror creator Charlie Brooker on its concept. The final asset, which is a gyroscopic megastructure secretly built from computer parts, underwent several iterations.
    “You only really notice it’s made of CPUs and circuit boards when you get close,” said Schneider. “We had three levels of detail, from wide establishing shots down to intense dogfighting sequences, where you see ships weaving through CPU rings.” Previsualization played a key role but the sequences still remained fluid. “Charlie and Toby are very iterative,” Schneider noted. “Some previs translated straight to screen. Other scenes evolved considerably, especially once the action choreography changed.”

    LED Walls, Cockpits, and Interactive Light
    Set lighting was another carefully managed component, especially for cockpit shots. “The bridge had a large LED wall behind the viewport,” Hayen said. Union VFX contributed pre-rendered loops of space backdrops, hyperspace tunnels, and planets, offering real-time interactivity for both lighting and actor eyelines. “Those LED plates ended up as final pixels in many shots,” Schneider added. “But where designs weren’t finalized, we reverted to green screens and post-comp.” To sell realism, cockpit sets were built practically with motion rigs and rotating light arms. “You really see the lighting interact with the cast’s faces,” said Hayen. “That kind of contact lighting sells it far better than trying to fake everything in post.”
    Controlling the LED wall with an iPAD

    Stylized Teleportation and Video Game Visuals
    The entire show leans heavily into video game aesthetics, not just in narrative but also in design. “The teleporting effect was intentionally layered,” said Schneider. “We started with chunky voxel blocks building up, refining into wireframe, then finally resolving into the real actor’s plate.” That low-to-high-res visual progression mimics game asset loading and nods to gaming history, a detail the team enjoyed threading through. In space battles, color-coded neon strips on ships offered a “Tron-meets-retro” visual shorthand. “You always knew which character was flying which ship,” said Hayen. “It really helped storytelling.”

    Tools of the Trade
    Union’s 3D pipeline ran on Arnold, with compositing handled in Nuke. “We leaned heavily on Optical Flares for all the over-the-top lensing,” said Hayen. “It’s a compositor’s dream.” While The Foundry’s CopyCat machine learning tool is gaining traction for rotoscoping and cleanup, it was used minimally here. “We’ve used it on other shows,” said Schneider. “But USS Callister needed more bespoke solutions.”

    High Expectations, Met With Precision
    Following the acclaimed first Black Mirror episode, Union VFX was keenly aware of the scrutiny this sequel would attract. “Framestore’s work was brilliant,” said Schneider. “We had to meet, if not exceed, the visual standard they set—especially with tech evolving in the years since.” Fortunately, the combination of intricate design, strong creative collaboration, and technical precision delivered an episode that both honours its predecessor and pushes the story forward. “It was a real joy to work on,” said Hayen. “And yes, a bit of a dream job too.”
    #fxpodcast #union #vfxs #work #black
    fxpodcast: Union VFX’s work on Black Mirror Season 7 – USS Callister
    In this episode of the fxpodcast, we speak with David Schneider, senior DFX supervisor, and Jane Hayen, 2D supervisor from Union VFX, to discuss their extensive visual effects work on the USS Callister episode for Black Mirror season 7. From spacecraft interiors to stylised teleportation and frenetic dogfights in deep space, the duo outlined how their team brought The USS Callister back with upgraded tech, intricate referencing to the original episode, and a keen eye for the audience’s expectations. In addition to the audio podcast, we’ve been creating YouTube videos of many of our fxpodcast episodes and this one is available in video form as well. Returning to the world of Black Mirror’s iconic “USS Callister,” the latest Season 7 installment pushes visual storytelling into new territory. With over 215 shots, 50 of which are fully CGI. Union VFX stepped in to bring the pixel-perfect dystopia to life. The episode features some of the studio’s most ambitious work to date, blending nostalgic retro-futurism with cutting-edge CG in a cinematic-scale production that feels more like a feature film than episodic television. Referencing the Original While Evolving the Visual Language One of the standout aspects of Union VFX’s approach was the conscious effort to bridge the look and feel of the original Season 4 Callister episode while modernising its visual language. “We were always referencing back,” said Hayen. “Even small things like lens flares had to match. The original had a slightly vintage aesthetic; this one leaned more into a stylised video game feel.” With Framestore having crafted the original ship assets, Union VFX inherited and upgraded these elements. “We reused the Calister’s CG model and textures from Framestore,” Schneider explained. “But a big chunk of our work was new, especially around the ‘Heart of Infinity,’ which didn’t exist before and needed to evolve into something iconic.” Building the Heart of Infinity and Space Combat At the narrativecore of the episode is the Heart of Infinity, a massive, ominous space structure concealing a digital ghost. Union VFX collaborated closely with director Toby Haynes and Black Mirror creator Charlie Brooker on its concept. The final asset, which is a gyroscopic megastructure secretly built from computer parts, underwent several iterations. “You only really notice it’s made of CPUs and circuit boards when you get close,” said Schneider. “We had three levels of detail, from wide establishing shots down to intense dogfighting sequences, where you see ships weaving through CPU rings.” Previsualization played a key role but the sequences still remained fluid. “Charlie and Toby are very iterative,” Schneider noted. “Some previs translated straight to screen. Other scenes evolved considerably, especially once the action choreography changed.” LED Walls, Cockpits, and Interactive Light Set lighting was another carefully managed component, especially for cockpit shots. “The bridge had a large LED wall behind the viewport,” Hayen said. Union VFX contributed pre-rendered loops of space backdrops, hyperspace tunnels, and planets, offering real-time interactivity for both lighting and actor eyelines. “Those LED plates ended up as final pixels in many shots,” Schneider added. “But where designs weren’t finalized, we reverted to green screens and post-comp.” To sell realism, cockpit sets were built practically with motion rigs and rotating light arms. “You really see the lighting interact with the cast’s faces,” said Hayen. “That kind of contact lighting sells it far better than trying to fake everything in post.” Controlling the LED wall with an iPAD Stylized Teleportation and Video Game Visuals The entire show leans heavily into video game aesthetics, not just in narrative but also in design. “The teleporting effect was intentionally layered,” said Schneider. “We started with chunky voxel blocks building up, refining into wireframe, then finally resolving into the real actor’s plate.” That low-to-high-res visual progression mimics game asset loading and nods to gaming history, a detail the team enjoyed threading through. In space battles, color-coded neon strips on ships offered a “Tron-meets-retro” visual shorthand. “You always knew which character was flying which ship,” said Hayen. “It really helped storytelling.” Tools of the Trade Union’s 3D pipeline ran on Arnold, with compositing handled in Nuke. “We leaned heavily on Optical Flares for all the over-the-top lensing,” said Hayen. “It’s a compositor’s dream.” While The Foundry’s CopyCat machine learning tool is gaining traction for rotoscoping and cleanup, it was used minimally here. “We’ve used it on other shows,” said Schneider. “But USS Callister needed more bespoke solutions.” High Expectations, Met With Precision Following the acclaimed first Black Mirror episode, Union VFX was keenly aware of the scrutiny this sequel would attract. “Framestore’s work was brilliant,” said Schneider. “We had to meet, if not exceed, the visual standard they set—especially with tech evolving in the years since.” Fortunately, the combination of intricate design, strong creative collaboration, and technical precision delivered an episode that both honours its predecessor and pushes the story forward. “It was a real joy to work on,” said Hayen. “And yes, a bit of a dream job too.” #fxpodcast #union #vfxs #work #black
    WWW.FXGUIDE.COM
    fxpodcast: Union VFX’s work on Black Mirror Season 7 – USS Callister
    In this episode of the fxpodcast, we speak with David Schneider, senior DFX supervisor, and Jane Hayen, 2D supervisor from Union VFX, to discuss their extensive visual effects work on the USS Callister episode for Black Mirror season 7. From spacecraft interiors to stylised teleportation and frenetic dogfights in deep space, the duo outlined how their team brought The USS Callister back with upgraded tech, intricate referencing to the original episode, and a keen eye for the audience’s expectations. In addition to the audio podcast, we’ve been creating YouTube videos of many of our fxpodcast episodes and this one is available in video form as well. Returning to the world of Black Mirror’s iconic “USS Callister,” the latest Season 7 installment pushes visual storytelling into new territory. With over 215 shots, 50 of which are fully CGI. Union VFX stepped in to bring the pixel-perfect dystopia to life. The episode features some of the studio’s most ambitious work to date, blending nostalgic retro-futurism with cutting-edge CG in a cinematic-scale production that feels more like a feature film than episodic television. Referencing the Original While Evolving the Visual Language One of the standout aspects of Union VFX’s approach was the conscious effort to bridge the look and feel of the original Season 4 Callister episode while modernising its visual language. “We were always referencing back,” said Hayen. “Even small things like lens flares had to match. The original had a slightly vintage aesthetic; this one leaned more into a stylised video game feel.” With Framestore having crafted the original ship assets, Union VFX inherited and upgraded these elements. “We reused the Calister’s CG model and textures from Framestore,” Schneider explained. “But a big chunk of our work was new, especially around the ‘Heart of Infinity,’ which didn’t exist before and needed to evolve into something iconic.” Building the Heart of Infinity and Space Combat At the narrative (and logical) core of the episode is the Heart of Infinity, a massive, ominous space structure concealing a digital ghost. Union VFX collaborated closely with director Toby Haynes and Black Mirror creator Charlie Brooker on its concept. The final asset, which is a gyroscopic megastructure secretly built from computer parts, underwent several iterations. “You only really notice it’s made of CPUs and circuit boards when you get close,” said Schneider. “We had three levels of detail, from wide establishing shots down to intense dogfighting sequences, where you see ships weaving through CPU rings.” Previsualization played a key role but the sequences still remained fluid. “Charlie and Toby are very iterative,” Schneider noted. “Some previs translated straight to screen. Other scenes evolved considerably, especially once the action choreography changed.” LED Walls, Cockpits, and Interactive Light Set lighting was another carefully managed component, especially for cockpit shots. “The bridge had a large LED wall behind the viewport,” Hayen said. Union VFX contributed pre-rendered loops of space backdrops, hyperspace tunnels, and planets, offering real-time interactivity for both lighting and actor eyelines. “Those LED plates ended up as final pixels in many shots,” Schneider added. “But where designs weren’t finalized, we reverted to green screens and post-comp.” To sell realism, cockpit sets were built practically with motion rigs and rotating light arms. “You really see the lighting interact with the cast’s faces,” said Hayen. “That kind of contact lighting sells it far better than trying to fake everything in post.” Controlling the LED wall with an iPAD Stylized Teleportation and Video Game Visuals The entire show leans heavily into video game aesthetics, not just in narrative but also in design. “The teleporting effect was intentionally layered,” said Schneider. “We started with chunky voxel blocks building up, refining into wireframe, then finally resolving into the real actor’s plate.” That low-to-high-res visual progression mimics game asset loading and nods to gaming history, a detail the team enjoyed threading through. In space battles, color-coded neon strips on ships offered a “Tron-meets-retro” visual shorthand. “You always knew which character was flying which ship,” said Hayen. “It really helped storytelling.” Tools of the Trade Union’s 3D pipeline ran on Arnold, with compositing handled in Nuke. “We leaned heavily on Optical Flares for all the over-the-top lensing,” said Hayen. “It’s a compositor’s dream.” While The Foundry’s CopyCat machine learning tool is gaining traction for rotoscoping and cleanup, it was used minimally here. “We’ve used it on other shows,” said Schneider. “But USS Callister needed more bespoke solutions.” High Expectations, Met With Precision Following the acclaimed first Black Mirror episode, Union VFX was keenly aware of the scrutiny this sequel would attract. “Framestore’s work was brilliant,” said Schneider. “We had to meet, if not exceed, the visual standard they set—especially with tech evolving in the years since.” Fortunately, the combination of intricate design, strong creative collaboration, and technical precision delivered an episode that both honours its predecessor and pushes the story forward. “It was a real joy to work on,” said Hayen. “And yes, a bit of a dream job too.”
    0 Yorumlar 0 hisse senetleri 0 önizleme
  • ActionVFX’s 40% Off May Sale

    Spending long hours cleaning up subpar stock footage? Or do you just need that one shot completed before the deadline? ActionVFX has your back!
    time and get great results with ActionVFX. Our 40% off sale starts May 20th, and it’s your chance to cut significant costs and access the industry’s leading VFX assets. Here’s what’s coming:

    40% off entire collections and credit packs
    40% off annual subscriptions

    Plus, you can expect the usual extra surprises to help you Make it Real.

    Perfect for Studios and Independent Artists
    ActionVFX is trusted by top studios and used in blockbuster films like Godzilla: Minus One and Avengers: Endgame. And it’s also a great option for solo creators or small teams. With over 12,000 real, production-ready assets, ActionVFX helps you spend less time fixing and more time creating.
    We offer full asset collections through one-time purchase or a subscription, and individual clips through our flexible subscription plans. Options for any content creator needing a broad range of assets. Plus, ActionVFX stays with you on your creative journey – any asset you purchase is licensed to be used by you forever.
    With 40% off collections, credit packs, and annual plans, you can unleash your creative potential with ActionVFX—because your vision deserves nothing less than the best.

    We’re Investing in You, Too
    ActionVFX isn’t just about assets – it’s also about supporting your creative journey. We have resources to help you grow.

    Free Practice Footage: Experiment and refine your skills with our free library of practice footage.
    Tutorial Library: Follow along and learn how to seamlessly integrate ActionVFX elements into your workflows with our detailed tutorials.
    Join the Community: Connect with like-minded creators, join one of our VFX challenges and access direct support from the ActionVFX team by joining our Discord community.
    Contributor Marketplace: Seasoned third-party VFX artists contribute assets to our library. You help them earn monthly income by using their assets in your work.

    Whether you’re a student, freelancer, or seasoned professional, we’re here to help speed up your workflows so you have more time to spend on creativity.

    Don’t Miss Out on ActionVFX’s May Sale
    This is one of the best deals yet on ActionVFX’s industry-leading assets. Visit ActionVFX.com to claim your 40% Off – and keep an eye out for a few surprises we have in store.
    Make it Real with ActionVFX.
    Brought to you by ActionVFX:
    This article is part of the befores & afters VFX Insight series. If you’d like to promote your VFX/animation/CG tech or service, you can find out more about the VFX Insight series here.
    The post ActionVFX’s 40% Off May Sale appeared first on befores & afters.
    #actionvfxs #off #sale
    ActionVFX’s 40% Off May Sale
    Spending long hours cleaning up subpar stock footage? Or do you just need that one shot completed before the deadline? ActionVFX has your back! time and get great results with ActionVFX. Our 40% off sale starts May 20th, and it’s your chance to cut significant costs and access the industry’s leading VFX assets. Here’s what’s coming: 40% off entire collections and credit packs 40% off annual subscriptions Plus, you can expect the usual extra surprises to help you Make it Real. Perfect for Studios and Independent Artists ActionVFX is trusted by top studios and used in blockbuster films like Godzilla: Minus One and Avengers: Endgame. And it’s also a great option for solo creators or small teams. With over 12,000 real, production-ready assets, ActionVFX helps you spend less time fixing and more time creating. We offer full asset collections through one-time purchase or a subscription, and individual clips through our flexible subscription plans. Options for any content creator needing a broad range of assets. Plus, ActionVFX stays with you on your creative journey – any asset you purchase is licensed to be used by you forever. With 40% off collections, credit packs, and annual plans, you can unleash your creative potential with ActionVFX—because your vision deserves nothing less than the best. We’re Investing in You, Too ActionVFX isn’t just about assets – it’s also about supporting your creative journey. We have resources to help you grow. Free Practice Footage: Experiment and refine your skills with our free library of practice footage. Tutorial Library: Follow along and learn how to seamlessly integrate ActionVFX elements into your workflows with our detailed tutorials. Join the Community: Connect with like-minded creators, join one of our VFX challenges and access direct support from the ActionVFX team by joining our Discord community. Contributor Marketplace: Seasoned third-party VFX artists contribute assets to our library. You help them earn monthly income by using their assets in your work. Whether you’re a student, freelancer, or seasoned professional, we’re here to help speed up your workflows so you have more time to spend on creativity. Don’t Miss Out on ActionVFX’s May Sale This is one of the best deals yet on ActionVFX’s industry-leading assets. Visit ActionVFX.com to claim your 40% Off – and keep an eye out for a few surprises we have in store. Make it Real with ActionVFX. Brought to you by ActionVFX: This article is part of the befores & afters VFX Insight series. If you’d like to promote your VFX/animation/CG tech or service, you can find out more about the VFX Insight series here. The post ActionVFX’s 40% Off May Sale appeared first on befores & afters. #actionvfxs #off #sale
    BEFORESANDAFTERS.COM
    ActionVFX’s 40% Off May Sale
    Spending long hours cleaning up subpar stock footage? Or do you just need that one shot completed before the deadline? ActionVFX has your back! Save time and get great results with ActionVFX. Our 40% off sale starts May 20th, and it’s your chance to cut significant costs and access the industry’s leading VFX assets. Here’s what’s coming: 40% off entire collections and credit packs 40% off annual subscriptions Plus, you can expect the usual extra surprises to help you Make it Real. Perfect for Studios and Independent Artists ActionVFX is trusted by top studios and used in blockbuster films like Godzilla: Minus One and Avengers: Endgame. And it’s also a great option for solo creators or small teams. With over 12,000 real, production-ready assets, ActionVFX helps you spend less time fixing and more time creating. We offer full asset collections through one-time purchase or a subscription, and individual clips through our flexible subscription plans. Options for any content creator needing a broad range of assets. Plus, ActionVFX stays with you on your creative journey – any asset you purchase is licensed to be used by you forever. With 40% off collections, credit packs, and annual plans, you can unleash your creative potential with ActionVFX—because your vision deserves nothing less than the best. We’re Investing in You, Too ActionVFX isn’t just about assets – it’s also about supporting your creative journey. We have resources to help you grow. Free Practice Footage: Experiment and refine your skills with our free library of practice footage. Tutorial Library: Follow along and learn how to seamlessly integrate ActionVFX elements into your workflows with our detailed tutorials. Join the Community: Connect with like-minded creators, join one of our VFX challenges and access direct support from the ActionVFX team by joining our Discord community. Contributor Marketplace: Seasoned third-party VFX artists contribute assets to our library. You help them earn monthly income by using their assets in your work. Whether you’re a student, freelancer, or seasoned professional, we’re here to help speed up your workflows so you have more time to spend on creativity. Don’t Miss Out on ActionVFX’s May Sale This is one of the best deals yet on ActionVFX’s industry-leading assets. Visit ActionVFX.com to claim your 40% Off – and keep an eye out for a few surprises we have in store. Make it Real with ActionVFX. Brought to you by ActionVFX: This article is part of the befores & afters VFX Insight series. If you’d like to promote your VFX/animation/CG tech or service, you can find out more about the VFX Insight series here. The post ActionVFX’s 40% Off May Sale appeared first on befores & afters.
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  • VFXShow 295: Thunderbolts*

    Thunderbolts*  is the 36th film in the Marvel Cinematic Universe. The film was directed by Jake Schreier and stars an ensemble cast featuring Florence Pugh, Sebastian Stan, Wyatt Russell, Olga Kurylenko, Lewis Pullman, Geraldine Viswanathan, Chris Bauer, Wendell Pierce, David Harbour, Hannah John-Kamen, and Julia Louis-Dreyfus. In the film, a group of antiheroes are caught in a deadly trap and forced to work together on a dangerous mission.

    Don’t forget to subscribe to both the VFXShow and the fxpodcast to get both of our most popular podcasts.

    This week in our lineup is:
    Matt Wallin *            @mattwallin    www.mattwallin.com
    Follow Matt on Mastodon: @Jason Diamond  @jasondiamond           www.thediamondbros.com
    Mike Seymour   @mikeseymour             www.fxguide.com. + @mikeseymour
    Jason referenced his Tribeca film: How Dark My Love

    Special thanks to Matt Wallin for the editing & production of the show with help from Jim Shen.
    #vfxshow #thunderbolts
    VFXShow 295: Thunderbolts*
    Thunderbolts*  is the 36th film in the Marvel Cinematic Universe. The film was directed by Jake Schreier and stars an ensemble cast featuring Florence Pugh, Sebastian Stan, Wyatt Russell, Olga Kurylenko, Lewis Pullman, Geraldine Viswanathan, Chris Bauer, Wendell Pierce, David Harbour, Hannah John-Kamen, and Julia Louis-Dreyfus. In the film, a group of antiheroes are caught in a deadly trap and forced to work together on a dangerous mission. Don’t forget to subscribe to both the VFXShow and the fxpodcast to get both of our most popular podcasts. This week in our lineup is: Matt Wallin *            @mattwallin    www.mattwallin.com Follow Matt on Mastodon: @Jason Diamond  @jasondiamond           www.thediamondbros.com Mike Seymour   @mikeseymour             www.fxguide.com. + @mikeseymour Jason referenced his Tribeca film: How Dark My Love Special thanks to Matt Wallin for the editing & production of the show with help from Jim Shen. #vfxshow #thunderbolts
    WWW.FXGUIDE.COM
    VFXShow 295: Thunderbolts*
    Thunderbolts*  is the 36th film in the Marvel Cinematic Universe (MCU). The film was directed by Jake Schreier and stars an ensemble cast featuring Florence Pugh, Sebastian Stan, Wyatt Russell, Olga Kurylenko, Lewis Pullman, Geraldine Viswanathan, Chris Bauer, Wendell Pierce, David Harbour, Hannah John-Kamen, and Julia Louis-Dreyfus. In the film, a group of antiheroes are caught in a deadly trap and forced to work together on a dangerous mission. Don’t forget to subscribe to both the VFXShow and the fxpodcast to get both of our most popular podcasts. This week in our lineup is: Matt Wallin *            @mattwallin    www.mattwallin.com Follow Matt on Mastodon: @[email protected] Jason Diamond  @jasondiamond           www.thediamondbros.com Mike Seymour   @mikeseymour             www.fxguide.com. + @mikeseymour Jason referenced his Tribeca film: How Dark My Love Special thanks to Matt Wallin for the editing & production of the show with help from Jim Shen.
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