Post Production
AE for Editors: Prolost Speedramp
Speed ramps used to be rare, and before that, nonexistent. Slow motion has long been a part of cinema—it...
Post Production
Do Away with the Array: RE:Lens for After Effects brings clarity to extreme fisheye scenes
RE:Vision Effects, best known for its Academy Sci-Tech award-winning motion-estimation-based effects including Twixtor and Reel Smart Motion Blur, demonstrated...
Uncategorised
MOX and Open-Source Video
Earlier this week Brendan Bolles launched an Indiegogo campaign to support a six month development effort that would result...
Business
The VFX Business in 2014: an interview with Scott Ross, Part Two
At the close of last week, Sony Pictures Imageworks (SPI) announced it would be moving its headquarters from Los...
Business
The VFX Business in 2014: an interview with Scott Ross, Part One
A little over a year ago we ran an interview with Scott Ross regarding the state of the visual...
Uncategorised
Wait and CC
Earlier this year Adobe committed to a customer strategy that can accurately be described as bold. The Creative Cloud...
Post Production
Cinefex Magazine, the craft of visual effects, and you
Readers of this post fortunate enough to have attended film school had the opportunity to study the masters of...
Uncategorised
How the Hackintosh Suddenly Caught Fire
Yes, it literally caught fire. This is the story of one man’s experience assembling and running a Hackintosh. For...
Post Production
VFX Workers Next Steps: Pi Day
After a dramatic few weeks that have seen Chapter 11 bankruptcy proceedings for VFX Oscar winner Rhythm & Hues,...
Production
Lessons from the Southern Wild
The text came in late one evening – who could be in New Orleans immediately for VFX supervision? The...
