Modern Jazz musician Olivier Cong's two-part song "Delusion" inspire designer Kachi Chan to create a black and white space-themed series of visuals. Prepare to leave your body! Read the rest

Designer Takayuki Sato wanted to turn his artist logo into a sci-fi short, and the result is "Portal." Read the rest

Disney+ didn't want butts on their platform so they edited Splash with digital fur technology pic.twitter.com/df8XE0G9om

— Allison Pregler 📼 (@AllisonPregler) April 13, 2020

If you watch Splash, the 1984 mermaid rom-com starring Tom Hanks and Daryl Hannah, on Disney+, you'll be alerted that the film, rated PG when it was first released, has now "been modified from its original version. It has been edited for content." One piece of content that's been modified is Daryl Hannah's butt. Rather than cut her butt though, Disney+ attempted something much more delicate...

(The A.V. Club) Read the rest

I loved The Mummy back in the day... although it hasn't held up very well.

If I were home and dying of the flu in bed, I wouldn't use the last of my strength to get up and change the channel if The Mummy Returns came on, right up to the point where the Scorpion King appears. That's some fugly VFX work. The folks from Corridor Crew agree. On one of their days off, they decided to do something about it.

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No matter whether your memories of George Lucas' Star Wars prequels are fond or furious, there's no denying that, at the time that films were released, their cutting-edge visual effects were unlike anything else out there--but how do they hold up today? It's a question that the VFX experts at CorridorCrew take the time to answer.

Over the course of this fun 15-minute video, the 'Crew examine what of the prequels' VFX still hold up, what mistakes were made and, in some occasions, what didn't work, even at the time that the movies were released.

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BBC got to be the first to tour Intel Studios, a state of the art greenscreen facility, with no suits, no motion capture, just a live performance captured in a green dome by hundreds of cameras. Read the rest

Visual effects house MPC offers a fascinating glimpse into the remarkable work they did to digitally recreate Rachel in Blade Runner 2049. Each iteration of these technologies inches close to indistinguishable duplicates. Read the rest

Inspired by Kubrick and Nolan, designer Thomas Vanz set out to create cool effects depicting massive phenomena from our universe: Read the rest

Lucas Berbesson created this nifty homemade PixelStick, and he was kind enough to share the instructions, too. Read the rest

As part of the Nicer Tuesdays series, Designer Weirdcore treats viewers to a rare historical overview of his concert visuals for Aphex Twin. Read the rest

Ridley Scott pauses his iconic in-camera chestburster scene in several places to show the tricks he used to make it so memorable. Read the rest

Depths of Antiquity is Julius Horsthuis' hypnotic slow-motion dive into fractals generated from images of churches, castles and other imposing edifices of yesteryear. It's perfectly complemented by Beethoven. Read the rest

Norwegian designer Asbjørn Lote (aka YouTuber lotsalote) used open-source Blender to create this realistic pool table scene from scratch in about 90 minutes. Read the rest

Cinemagraphs turn still photographs into moving images. Armand Dijcks has taken the gorgeous wave photography of Ray Collins (previously) and turned them into hypnotic slow-mo animations. Read the rest

Turkish artist Aydın Büyüktaş recently visited the United States, which inspired him to create the Flatland series of digitally-warped images. Read the rest

Roy Peker created this fantastic explainer about VFX and digital compositing. Read the rest

VFX artists have long complained they do not get the compensation they deserve for the value they bring to the film industry. Just in time for the Oscars, Ali Rizvi and Sohail Al-Jamea have teamed up with McClatchy with Hollywood's Greatest Trick. Read the rest