The ideal of digital doubles—a CG recreation of an actor’s face being used over footage of a real stunt performer—is hardly new in cinema. But the work done on seamlessly integrating them into Logan is nothing short of amazing.
This featurette on making the prosthetics for Game of Thrones is plenty interesting by itself, especially it features a great deal on how the show creates the White Walkers. But it also may have inadvertantly gave us a peek at at an upcoming scene that may prove very important.
In a hilarious mix up, the movie studio behind Everest sent the BBC this clip of the movie that had no sound effects added. Which is really, really great for us because it is oh so goofy to see an impossibly tense scene of the movie with all the VFX added and everything looking right and action packed but sounding...…
If you want to add some realistic wounds to your zombie makeup or just do a better job applying those cosplay elf ears, Hollywood Makeup Lab can guide you step by step through some basic procedures that will make your fantastic creations and creepy monsters come to life.
When you get a chance to talk to Game of Thrones’ VFX supervisor Joe Bauer, you don’t ask him about the weather. So we didn’t—instead, we asked him to discuss the greatest FX scenes over the show’s five seasons in this exclusive io9 video, and the show’s ever-evolving with practical effects and digital wizardry.
Whether you're a fan of film in general or BttF in specific, hearing special effects supervisor Kevin Pike explain how the movie's lengthy, one-take opening shot was made — and how many people were needed behind the scenes to make it — is fascinating. The work required for the dog food alone...
A new season of SyFy's Face Off starts this week — what better way to get fired up for mind-blowing makeup skills and creature design than with a gallery filled with six seasons of top looks? Check out these great photos of zombies, werewolves, and...other things.
Seriously, this film is busy. There are space princesses, space elves, space ships, space real estate issues, some kind of space dragon, a space Sean Bean — no wonder the movie was pushed back seven months to work on the special effects. It probably took 'em two months just to do the SFX for this new trailer.
The legendary Joe Johnston just revealed this classic behind-the-scenes video of the making of one — one of the shots from Empire Strikes Back featuring the AT-ATs as they lumber across Hoth. It's amazing how slow and low-tech this process was, but also how fantastically the special effects still hold up.
What would you do if you saw a 7-foot orc warrior walking down the food court or your local mall? I think you'd be hard-pressed to handle yourself quite as well as the people in this video do.
And speaking of a movie that terrified me as a child and I loathe to this very day, special effect guru Rick Baker has just apparently released some of the early designs of the aliens from Night Skies, an unmade Steven Spielberg movie whose designs led directly to E.T.
This 15-minute Star Wars featurette won't tell you how to make an actual lightsaber, but it will explain how director George Lucas and his team created the first lightsabers for A New Hope, and Mark Hamill tells what it was like to wield them.
We all know the classic AT-AT attack in The Empire Strikes Back was created using stop-motion, but this old behind-the-scenes footage of the visual effects team actually creating the footage is pretty great.
It's one thing to make a giant, robotic Tyrannosaurus Rex. It's another thing entirely to make it look remotely real. Granted, a robo-rex is awesome in its own right, but it's just not quite the flavor of monster fit for a film like Jurassic Park. And so it was practical effects to the rescue yet again with a…
You computer probably makes a bleep now and then, maybe the occasional bloop. But the giant, glowing, blinking machines of Hollywood fame have a much larger library of bings, pings, and whistles.
As a young pup watching Jurassic Park, I was in terrified of the T-Rex, fearful of the Raptors, in awe of the Brachiosaurus and annoyed of that little spraying dinosaur. But probably above all, I felt for the Triceratops. It was hurt! It was dying! It was so incredibly detailed. Stan Winston School revealed how they…
Jurassic Park was awesome. Jurassic Park in 3D is awesome layered on awesome. And the tech behind the scenes? You can probably see where this is going.
It doesn't matter whether you just got done with school, or work, or still have a few hours to go, I promise you that this video of a car exploding in extremely slow-motion is the most cathartic way to wipe your Monday-Friday blues away and get you ready for your weekend. Filmed at a ridiculous 2500 fps, the video…
All these years I'd assumed George Lucas and his team of SFX artists had used some kind of obscure, obsolete compositioning technique to create the Star Wars' iconic opening crawls. The real method, pictured here, is wonderfully quaint.
While most SF magazines and websites dream of some variation on world domination, British magazine SFX has gone one further and taken their particular variation on nerditry to another stratosphere. Literally. In another example of publicity stunts that make little sense, each and every issue of SFX from now on will be…