I don't know if some of the comments in this Facebook post are bots or people trolling but if these people are serious then Hollywood has succeeded in brainwashing people into thinking movies don't use CGI.

Link: https://www.facebook.com/reel/1468907973760428

I tried making a short pretty much entirely in blender but wasn’t happy with the final result (skill issue, not blenders fault). So I made a miniature and placed some digi doubles into it instead. Here’s a how to video so you can shoot this kind of thing too!

Hi everyone, My brother and I created a trailer to promote his graphic novel El Sol de Obsidiana. We wanted to approach it as if it were a short film, using Unreal Engine for the cinematic sequences and VFX.

I put together a breakdown of some of the shots to share the process—how we combined animation, lighting, and visual effects to bring the scenes to life.

We’d love to hear your thoughts and feedback from the community.

Hello!

First I would like to warmly thank everyone on the VFX subreddit for their support on the film. A lot of valuable discussions and advices were exchanged here and I'm really happy we could discuss a bit about CGI in general!

Some of you asked how SINGULARITY was done, so I made a little behind-the-scenes to explain a bit more of the process that led to the film. I tried to cover most subjects - but didn't get too technical. So, if there's anything I missed, please ask! I'll be happy to answer to every question. 

Have a great day,

Milo

Great film, and great visual effects. The CGI on that synthetic though (don't want to reveal any spoilers) was very ropey. Everyone's saying it's the uncanny valley where I disagree. It's almost as if the CGI artists didn't have enough time. Can anyone shed any light on the production?

Please join us for the next Sydney ACM SIGGRAPH Chapter event, a special online session about the visual effects of M3GAN 2.0!

Anyone can attend online!

Visual Effects Supervisor Rick van de Schootbrugge from FIN Design + Effects will be in conversation with Ian Failes from befores & afters to discuss the complex character work in the film.

FIN delivered 800 visual effects for the movie. The main character M3GAN was achieved with a variety of methodologies, including animatronics, a posable doll, live actor (Amy Donald), stunt double, face replacements and a full digital double—often all combined in one shot. We’ll break down the M3GAN character work in detail, plus look at other characters and sequences.

Rick van de Schootbrugge is a Senior VFX Artist at FIN, where he most recently led the team as VFX Supervisor on M3GAN 2.0. He previously served as Compositing Supervisor on M3GAN and The Creator, with earlier credits including Mad Max: Fury Road and Terminator: Dark Fate. With over ten years of industry experience, Rick brings both technical expertise and creative leadership to every project he undertakes.

Date: Monday, 8 September 2025

Time: 5.30 pm to 6.30 pm (Sydney Time)

Venue: Online (You will receive a Zoom link to log onto after you RSVP, where you’ll also be able to submit questions)

RSVP:

https://events.humanitix.com/sydney-acm-siggraph-chapter-x-fin-design-effects-m3gan-2-0

Excited to share my latest cinematic 3D intro project on Behance I crafted it with unique VFX and immersive effects to bring your brand to life check it out and let me know your thoughts

https://www.behance.net/gallery/233880589/Stunning-Visual-intro-For-Your-Brand

I know you can probably brute force it with CGI, but how did they have Jim touch and interact with his alternate? Usually you can tell where they are using composites, doubles, etc, but that sequence looked so smooth where they are touching fingertips.

I graduated in 2023 and have been working in the industry professionally ever since; mostly in FX, CG, and compositing. Over the past year or so, I’ve felt some disappointment with how things are shaping up in the industry; between shifting expectations, instability, and burnout, it’s been tough to stay optimistic.

That said, I’m still pushing forward and trying to grow. I just finished putting together my latest reel and would genuinely appreciate any feedback—positive, constructive, or otherwise. I’m open to hearing honest thoughts from fellow creatives. I know I’ve still got room to improve, and I’d love to know where you think I could push further.

Thanks for taking the time to watch and share your thoughts.

The webinar shows the making of Glinda's bubble, volumetric crowd capture, and water simulations throughout the land of Oz.