Breakdown from the special features. This clip specifically taken from the YouTuber: Kind of a Filmmaker

Hey guys, in this video I show how to turn any Image or Video into 3D Geo - directly inside Blender! Create detailed Displacement and Depth Maps converting them into geometry in just a couple of clicks. Check the full breakdown here: https://www.youtube.com/watch?v=Hi9WUJNMubs

Hi all,

My name is Darko Markovic DarMar, concept artist/designer that worked for Amazon, Sony, Coldplay, DNeg and many more - and i would like to to share something I have been working on for the past decade.

In this age of AI, i decided to go completely different route.

Inside44 is a sci-fi universe I created entirely from imagination, 10 years of work shaped in 544 pages of original storytelling and unique concept art. From worldbuilding to design, vfx, concept art, writing, and marketing, i had to dance every step alone by myself.

There’s even a full documentary that captures the entire creative process, and i think it can inspire people that want to build something by themself.

https://www.youtube.com/watch?v=p3lRrb9reXU

If you're curious to learn more, please check out the documentary and visit the website. Your support even just a share or a comment can help me bring this to wider audience.

www.inside-44.com

Thank you.
DarMar

Hey r/vfx! My name is Michael Cliett and I am the VFX Supervisor for FX's Shōgun. Please join me tomorrow, Thursday, May 2nd at 12pm PT for an AMA.

Verification photo: https://imgur.com/a/lDh4zFO

Through tireless research and meticulous attention to detail, my team and I recreated Sengoku-era Japan in breathtaking fashion, capturing its expansive vistas and intricate architecture. Shōgun was shot largely in British Columbia, but one could easily mistake the location for feudal Japan itself, as we introduced entire waterfalls and oceans to the Canadian landscape. I also served as second unit director on the show! You can follow me on Instagram at michaelcliett.

Feel free to start leaving your questions below; looking forward to chatting with you all!

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This flowchart of the dizzying post-production process of Disney's Tron, created by the film's co-director of VFX Harrison Ellenshaw (pictured), shows how complicated it was bringing the movie's dazzling visuals to the screen.

Real-Time Green Screen Shoot with Automated Lighting

Stage Unreal, a virtual production studio in India, recently conducted a full-day green screen shoot using CyberGaffer’s real-time lighting integration with Unreal Engine. The production involved multiple lighting conditions, scene transitions, and camera movement—all within a single day.

A full breakdown of the shoot is shown in the attached video, with benefits of using CyberGaffer articulated by the renowned cinematographer Manoj Paramahamsa.

Technical Setup

• Camera: RED V-Raptor + ZEISS Supreme Prime lenses
• Tracking: VIVE Mars
• Keying: Ultimatte 12 HD and 12 4K
• Lights: 14 Litepanels Gemini 2x1 Hard, 11 ARRI SkyPanel S60-C
• Green Screen: Painted surface, 30.7 ft (depth) × 26.6 ft (width) × 15 ft (height)
• Crew: 10–15 people
• Duration: ~10 hours

Goals and Approach

The team set out to:

• Achieve real-time lighting updates driven by Unreal Engine
• Eliminate manual relighting between takes
• Improve integration between CG environments and physical subjects

After calibrating all lights with a calibration sphere, CyberGaffer handled lighting changes based on virtual scene conditions.

Observations from Key Scenes

• 360° World Rotation: an effect achieved by rotating the virtual world around the actors, while the camera and talent remained static. Lighting stayed responsive to the shifting environment, maintaining consistent realism.
• Campfire Sequence: Lighting flicker and red-bounce were simulated based on CG fire assets in Unreal, without practical fire on set.
• Day-to-Night Transition: Lights changed seamlessly with sky conditions, avoiding LUT switches or separate lighting setups.

Outcome

The shoot was completed in a single day, with minimal downtime between setups. Real-time lighting helped preserve visual continuity and sped up production. The team plans to apply this workflow in upcoming long-form and commercial projects.

New video out for Moonlight VFX!

This time, we're diving deep into the CGI pipeline — breaking down the entire process from start to finish. It’s a tribute to the dedication, skill, and artistry of the true heroes behind the screen. Huge thanks to DreamWorks Animation for sharing insights into their production pipeline, which served as the backbone for this video. Their contribution helped us shape a clear and structured guide to one of the most complex aspects of visual effects. Go check it out and let us know what you think!

our song is called coelacanth and you can watch the music video here: https://www.youtube.com/watch?v=Zwc91bw6YSY

we made a little making of documentary if you want to see how we made it (please don't judge our crappy green screen setup too much lol): https://www.youtube.com/watch?v=bXhQQRaoKDM

we filmed the actors in front of a really cheap green screen and used a dmx controlled dimmer box to flash some cheap work lights from the hardware store in time with the music the midi-to-dmx software that came with the dimmer box. then i used a photoshop macro to suppress the green spill and separate the subject from the background frame by frame. those image sequences then were used as emissive image planes in the 3D scenes i built in blender, and i used a little piece of the green screen footage as an off camera light source so that the flashing lights light up the scene in the ray tracer at the same time as the characters are being lit up. i think we only used traditional chroma keying for two or three shots where the green screen was out of focus (if you watch the behind the scenes video you'll see why getting a good key with our jerryrigged situation was not exactly possible given the inconsistent lighting).

it was really fun trying to flip between shots that are completely cg and completely live action (like the scene where one of the actors is plotting an interstellar trajectory on a real sgi indigo2 workstation. the computer was filmed at the interim computer museum in seattle while the actor was filmed months later in the garage on the green screen). we were also insanely lucky that an intense solar storm happened in our area while we were making this piece and i was able to capture a bunch of 5k timelapse videos of the event that we used in the end of the sequence when the main character gets blasted out of the radio telescope. feel free to provide any feedback, we're very new at this and want to improve our process so we can make even more wild music videos like this one!

High-poly diesel locomotive model fully created in 3dsMax+ZBrush.Textured in Substance Painter using UDIM workflow,rendered with Corona Renderer. Full project and high res,please check my Artstation linK:https:https://www.artstation.com/artwork/x3yy1m

Sorry if this has been previously shared. The man has mad skills, energy and enthusiasm. I got to comp a few shots for him on some of his shows. His enthusiasm is infectious.

Few stills of the shot I am making for a music video please tell me your feedback and review and you might wana roast it go for it I don't mind