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Corridor Crew VFX artists react to the visual effects of the 2021 Dune and compare them with David Lynch's 1984 version. They discuss which effects were practical and which were CGI.

VFX supervisor Jonas Ussing examines what studios mean by "no CGI", showing how much invisible CGI hides behind practical-effects marketing. It is the first part of a multi-part series that includes analysis of doctored behind-the-scenes footage.

Deepfake artist Shamook's improved version of the Luke Skywalker scene from The Mandalorian season 2 finale, replacing the official CGI face with a deepfake.

Captain Disillusion's VFXcool episode, led by Alan Melikdjanian, takes a 41-minute nostalgic look at how the visual effects of Flight of the Navigator were made. It covers early computers, motion control, in-camera effects and practical crafts.

A five-minute CG sci-fi short film by Danil Krivoruchko, based on Peter Watts's novel Blindsight. It follows a revived crew member recalling a first contact mission, and took four years to make with artists worldwide.

ILM shows how The Mandalorian season one used a large curved LED wall to display interactive 3D environments in camera. The video covers the virtual production setup replacing location shoots.

Corridor Crew dive into the visual effects of Terminator 2 and try recreating the T-1000 bars scene with modern tools. They explain how the original effects were achieved.

Freya Holmer explains how Bezier curves work, from the helper-line construction to their uses in animation, text rendering and shapes. It uses visuals from her Unity Shapes plugin and was a SoME1 contest winner.

Imphenzia's 83-minute tutorial covers the low poly modeling techniques he learned over five years of Blender use, with timestamps from navigation and extrusion onward. It uses Blender 2.83 with default keys.

In an Ars Technica War Stories episode, Prince of Persia creator Jordan Mechner describes how he made the game on the Apple II, fighting hardware memory limits and the platform's decline. It covers the rotoscoped animation and the engineering tricks involved.

A neural-network upscaled 4K, 60 fps version of the 1906 film of a trip down Market Street in San Francisco, shot four days before the earthquake. It shows cable cars, horse carriages, early automobiles and pedestrians sharing the street.

Captain Disillusion's comedic, fast-paced explainer on how color works in cameras, displays and video. It covers the biology of color perception and what it means for screens.

Ian Hubert shows quick, unconventional tricks for greenscreen compositing in Blender, as a follow-up to his motion tracking video.

Ian Hubert shows how to use Blender's motion tracking to turn ordinary footage of a room into a stylized digital environment for an indie film. It is a quick, practical walkthrough in his loose, lazy-tutorial style.

Blender Guru's beginner tutorial series, in which you model, light, texture and render a donut while learning Blender's core features. This is Part 1 of the Blender 3.0 version.

Corridor Digital makes a roughly seven-minute anime short using Stable Diffusion and related AI tools, based on a technique they teach in a longer tutorial. It was an early showcase of AI-assisted animation.

Jared Owen's 3D animated breakdown of how a Brunswick GS-X bowling pinsetter works, showing its mechanisms for sweeping, lifting and resetting pins and balls.

Grant Sanderson of 3Blue1Brown shows his workflow for animating math videos with Manim, with Ben Sparks. He codes scenes live, including a Lorenz attractor, and walks through example scenes.

Animator Noodle explains why frame interpolation does not make animation better, covering timing, easing, smear frames and using the wrong tool for the job. A pinned correction says the video is partly outdated given later AI developments.

The first episode of Ian Hubert's Dynamo Dream series, a one-person sci-fi short made in Blender with a gritty futuristic city setting. It was made with help from friends and Patreon supporters over about three years.

This Place argues that the uncanny valley is a flawed concept, since 'human likeness' is too broad and the supporting evidence is cherry-picked. It proposes that the creepiness really comes from how animated characters and robots move.

Corridor Crew tracks down Disney's lost sodium vapor prism process, used for Mary Poppins-era transparency mattes. They explain how a narrow sodium wavelength and a beam splitter enabled better compositing than green screen.

A roughly two and a half hour YMS video on Kimba the White Lion that investigates the claim that Disney's The Lion King copied it.

Insider explains how The Mandalorian replaced green screens with LED walls that project real-time 3D environments behind actors, with over half the show filmed on such virtual sets.

Corridor Crew explain how they made an anime short by filming themselves and running the footage through custom-trained Stable Diffusion models. The video walks through the technique and its open-source foundations.

Episode 2 of Corridor Digital's Anime Rock, Paper, Scissors, a short film made with AI-assisted animation techniques such as Stable Diffusion and DreamBooth. The story follows King Philip facing his twin brother and a barbarian king.

A video showing a virtual camera built in Blender that simulates lenses and film layers using path tracing, to make physically modeled photographs.

A 3D-animated walkthrough of a heavy-haul diesel-electric freight locomotive, covering the frame, coupling, draft gear, engine and drive systems. Made in Blender by Animagraffs.

Unity's real-time cinematic teaser 'Enemies' from its Demo Team, showcasing HDRP lighting, strand-based hair and an advanced digital human toolkit. It is a short showcase of high-end real-time rendering.

A short claymation music video by animator savannahXYZ satirizing how bad web search has become, with SEO spam and ads crowding out real answers. It is comedic rather than analytical.

Animator Joel Haver explains how he makes his short films using rotoscoping and the EbSynth tool, along with the software he uses. The method is a labor-intensive, frame-by-frame process.

Epic's Unreal Engine 5 tech demo set in the Matrix universe, with Keanu Reeves and Carrie-Anne Moss. It moves from a cinematic to a playable car chase through a large detailed city, with a behind-the-scenes look at the rendering at the end.