Francois Ferracci VFX breakdowns

Multi-talented Fran­cois Fer­racci (he is a Dir­ector, Art Dir­ector, VFX Super­visor and Story­board Artist) has cre­ated a com­pre­hens­ive VFX break­down reel of the vast major­ity of his works. There’s a lot of inter­est­ing scenes and tech­niques to be watched in this 10 minute video and the range of pro­jects is quite a thing to behold.

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Kei Yoneoka VFX TD showreel

Kei Yoneoka’s work will be famil­iar even if you have never heard of him before. He’s a TD at Pix­omondo Ber­lin and has cre­ated VFX for Films like “Space Battle­ship YAMATO”, “Red Tails” and “Jour­ney 2 : The Mys­ter­i­ous Island” as well as “Game of Thrones”. Check out shots and break­downs from all of the above as well as some R&D in this fas­cin­at­ing showreel.

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The CG environments of

“Pro­meth­eus” as a film has recieved mixed reac­tions to say the least. But one thing every­one eas­ily agreed on was that it looked amaz­ing. The details behind this visu­ally stun­ning movie start to come to light now with this look behind the scenes of the movies main out­door envir­on­ment, cour­tesy of MPC. This video is espe­cially nice as it fea­tures some in-depth dis­cus­sion about the pro­cess of find­ing and cre­at­ing the whole scene setup includ­ing the reas­on­ing and the tech­niques used.

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The waves and water of

Sony Pic­tures Image­works’ “Surf’s Up” is one of the few anim­ated movies I would recom­mend to any­one without a second thought. It was pro­duced dur­ing the short time in the late 2000’s (2007 to be exact) when full CG-animated films were a field where fresh ideas met fant­astic budgets. There’s a whole lot of inter­est­ing stuff about this movie, but prob­ably the most ground­break­ing tech­nical aspect were the waves. Few films have since cap­tured the feel­ing of a vast ocean and huge bod­ies of water. In this far too short video one can at least get a glimpse at how this was achieved.

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Tinker Tailor Solider Spy - VFX breakdowns

TTSP was quite the movie and the qual­ity of the VFX match the qual­ity of the script. Enjoy this little VFX break­down from The Chim­ney Pot, Sweden’s biggest VFX facility.

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RealFlow SIGGRAPH showreel 2012

There are sev­eral com­pet­ent tools avail­able to solve the age old prob­lem of fluid-simulation. But whatever you think of Real­Flow, it has become some­thing of an industry stand­ard. Next Limit’s Real­Flow 2012 showreel tells you why: some of these liquids look photoreal, and that’s all that counts.

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The Girl with the Dragon Tatoo - Hyperorganic fluid sims

Keep­ing the theme of TGWTDT I found a fant­astic break­down video of the iconic intro sequence. Mem­bers of Hyper­or­ganic, a spe­cial­ized stu­dio for VFX sim­u­la­tions, col­lab­or­ated with Blur Stu­dios to cre­ate these intense and com­plic­ated fluid sim­u­la­tions. I think they look just as impress­ive in broad “day­light” as they did in the fin­ished movie.

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Make your own weather - The Girl with the Dragon Tatoo VFX breakdowns

“The Girl with the Dragon Tat­too” doesn’t fall into the cat­egory of VFX-heavy films, at least not from the looks of it. But it wouldn’t be a David Fincher film if there weren’t enhanced details in almost every scene. A lot of work on it was done by well know stu­dios like Blur, Digital Domain and Method and I’m glad I at least found this nice VFX-breakdown video show­ing Digital Domain’s part in the pro­duc­tion. My best wishes to the staff of DD btw., your work was almost among the best.

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Chi Chuan Ko VFX Demoreel (Taiwan)

Chuan from Taiwan impresses with this inter­est­ing demoreel. He is an expert for sim­u­la­tion in Maya and works on a wide vari­ety of pro­jects and tasks, from demand­ing cloth sim­u­la­tion on fight­ing war­ri­ors to a real­istic scene of a mud-slide. It’s fas­cin­at­ing stuff and all nicely broken down for your view­ing pleasure.

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Photorealism in nature cinematography

When you’re try­ing to cre­ate a beau­ti­ful nat­ural video of a fal­con, noth­ing less than abso­lute photoreal­ism is a must. Swedish stu­dio Fido is appar­ently up to the task as this mind­blow­ing VFX break­down clearly demon­strates. If it weren’t for this look behind the scenes they’d eas­ily have fooled anyone.

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