compositing

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.

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.

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.

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.

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.

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 A pinned correction says the video is partly outdated given later AI developments.

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 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.

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.

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.