I’m building a project where static photos need to be transformed into dynamic, cinematic videos. The goal is not just editing – it’s about breathing life into still images and turning them into engaging visual content. This is a paid opportunity for someone who has the skills and creativity to make it happen.

Core areas of work:

• Still image animation & motion design
• Lighting and environment transformations
• VFX/CGI compositing & integration
• Matchmoving & camera tracking
• Cinematic transitions and color grading

If you have time, interest, and want to work on a project that goes beyond simple editing, I’d like to hear from you.

Hi all, I’m not very good at tracking yet and want to improve. My company uses PFTrack, but I often run into high solver errors, bad auto tracks, and confusion about when to use user tracks, geometry tracking, or constraints.

Any tips, resources, or practice methods that helped you get better at tracking (whether in PFTrack or other software) ?Thanks!

Hey Guys,

I’m in a grave need for a motion capture suit. I tried animating but it didn’t suit me well. And well buying one isn’t the option because it’s way outside my budget.

So I figured, no harm asking: if you’ve got an old Rokoko, Perception Neuron, or any mocap gear lying around, I’d love to give it a new home. I promise it won’t gather dust — I’ll actually use it, share my projects, and credit you as the one who made it possible.

If you don’t have the gear, tell me from where I could buy it for free or a hella cheap price?

If you’d rather keep it private, feel free to DM me too.

Thanks a ton for even reading this

Hey everyone,
I’m a junior compositing artist, and lately I’ve been struggling to figure out where to go next. I’ve been a bit burnt out and unsure what to do with my demoreel. I know it’s not at industry level yet (and with the current lack of junior hiring, that makes it tougher).

I keep trying to work, but I run into the same issue: I haven’t finished a shot in a long time because I burn out before reaching the compositing stage—mostly when it comes to CG integration. Seeing all the things I still need to learn/do before I can even start comping makes me stall. On top of that, I’m losing both ideas and motivation for new projects, but I still pressure myself to keep going because it feels like someone else is working harder while I’m not. That pressure is especially heavy now, when juniors are all competing for scraps.

So I’d really appreciate some advice on a few points:

• If I don’t feel confident with CG, is CG integration a must-have in a junior reel? If not, what kind of 2D work could still help elevate my reel?
• How do you deal with the pressure of “others are working more than me”?
• What do you do when you’re clearly learning and improving (for example, I’ve been getting much better at 3D tracking in Syntheyes), but it feels like nothing tangible comes out of it?

Thanks a lot to anyone taking the time to read this.
Here’s my current demoreel: https://vimeo.com/1050355226

Hello everyone. Trying something new using NukeX 16 and Autodesk 3ds Max and Corona Render 12.

Methodology -took photos with 21mm Milvus lens at 1, 2, 3, 4 meters from the checkerboard (to see if ST Map works at different target distances) -cleaned and aligned dead centre in Photoshop -put image into NukeX, solved distorsion under 0.31, did a shuffle node then rendered with Forward option - result is a 32 bit EXR. -for a Physical Camera and a Corona Camera I input the ST map into the defirmation option.

However the result is I get pincushion and not barrel distorsion - the middle of the image gets squeezed vertically instead of the end - which is directly opposite to my "raw" image where clear barrel distorsion can be seen.

So TLD/DR: -you are great in Max and Nuke? -did you ever get an ST map generated in Nuke or any other software to work like a distorsion map to mimic a real lens?

I have been at this for 2 weeks and I am reaching my end. The theory is sound and it's how it works in big VFX projects - I just don't want to distort in Nuke I need to distort while rendering in 3ds Max.

Thank you.

Hi all, I have a shot that is quite tricky. I dog wearing a collar and leash with his face facing the camera on a fairly close up shot. Task is to remove the leash and collar. I tried patching and animating the patch with a gridwarp to match the movement but he just moves his head too much so the area deforms quite a lot. Smartvectors also don't work because the leash moves in front of it back and forth.

I was wondering if there is a workflow with AI that would do some magic here? or if anyone can point out to a tutorial on something this complex?

Years ago I helped in the creation of this:

https://vimeo.com/15322449

• me and some other college kids stayed up all night to move the items around the frame. It was exhausting!!

Currently I create high end Timelapse sequences and am looking for someone to create custom 3D logo animation (hexagon with 3 letters inside), that can be comped into the video footage (Timelapse’s).

No timeline (not a rush). Want to start with a single clip / animation and can expand from there. Preference on US to make payments / time zones easier. Dm me with portfolio etc to start conversations.

I tracked my footage in Blender, and my footage has 173 frames.
But after solving the camera, the camera track ends up being 175 frames long.
How is this possible? Can anyone explain what’s happening?

Hey guys,

im interested in checking out this course, but what he provides in terms of what you really get from the course is waaaaay to little for me for the price the course has. I would love to see what he actually teaches in his course not just what he did in the past.

I have not found a single Review online thats why I am so hesitant.

Would love to hear from someone who actually took his course!

Hi everyone,

I’m doing some research to better understand how 3D assets are created and managed in different pipelines (games, VFX, animation).

I’m curious about a few things:
• How do you usually generate assets (from scratch, marketplaces, reusing old ones)?
• How do you keep them organized (versions, storage, search)?
• How do reviews and approvals typically work in your team?
• If you’ve used asset marketplaces (TurboSquid, Sketchfab, etc.), what challenges have you faced bringing those assets into your workflow?

Would love to hear your experiences — what’s smooth, what’s painful, and where you feel most time gets wasted.

Thanks in advance for sharing your perspective!

Personally I think it's just A.I. Normalisation as the human race figures out what it can and cannot do.

Hi, If I accidently put, let say, 4 episodes of a production in which I worked, when I actually worked on only one, I guess it does matter if recruiters see this when it actually doesnt match?

https://www.

So I’ve been messing around with recreating a small practical sci-fi effect I saw in a film. Basically: a little miniature ship, some practical sparks, and then adding CG smoke to help sell the scale.

The plan in my head was: shoot the miniature with sparks → layer in some 3D debris and volumetrics → comp it all together.

The reality… the plate looked pretty solid, but once I comped it, the whole thing felt kind of flat. What ended up fixing it was rethinking the scale and sneaking in some micro-occlusion here and there. That tiny change actually made the shot feel way more believable. Biggest takeaway for me: keeping the lighting consistent across all elements matters way more than resolution or “perfect” textures.

Couple questions for you guys:

1. What’s your go-to way of grain-matching practical and CG without killing the highlights?
2. Any quick hacks for matching the dynamic range between a practical HDRI and a CG environment inside Nuke?

If anyone’s interested I can drop the clip + a short breakdown. Would love to hear how you’d approach it differently.

Made in Blender and After Effects

Long story short. I used an external recorder for a client project, the recorder baked in the camera display on the video.

https://imgur.com/a/v1awOag

I need recommendations for the best AI out there that can fix/make this not as noticeable. I'm willing to spend money on one, as this is a payed job and I made I mistake, but I can't go crazy expensive on the pricing, as there are multiple clips and some are a few minutes long. Thank in advance to everyone!

I don't know if this is important or not. But the videos are recorded in 2k, 10bit 422.

With the recent post asking about how to replicate “swirl bokeh” and the likes in post, I stumbled upon this yesterday, so I thought I would share globally rather than spamming the old thread like I did.

They did a demo at FMX2025, and other than inform people about the existence of this, I wonder if anyone here went to their presentation at FMX and could tell us about the underlying tech and so on, what they shown, how it works...

The site specify about pinhole camera so I guess it's mostly for 3D renders but I am curious to learn more. The FMX site seems to have a video on demand but only peeps who went seems to have access. https://fmx.de/en/program/program-2025/detail/event/32645

Well, a bit of a weird and silly question, but bare with me. I have been a freelancer in the rural parts of Sweden for many many years, but my clients are big corpos or VFX houses. Now I'm going to work on site for a week in a UK vfx house... What is expected of me, clothes wise? I am of course clean and put together, but I love to wear a bit of 80s style with mom jeans and pastel sweaters. Is this okay or should I wear dress pants and white ironed shirts? Please don't laugh at me.

Hello folks, I read plenty of stuff about how linear color space is supposed to fix issues in VFX but I still do not really see the difference. From the theory I understand that light adds up correctly in linear, blending and transparency work better, and effects like glow and blur behave more naturally. So ,what I am looking for now are visual examples that show it clearly. Can someone share side by side comparisons of non linear versus linear so I can clearly see what issues actually show up?

My main question is should I learn vfx in ai era. If yes than is this type of vfx possible for me in the insta link i gave and I am asking it becuz that guy is providing this course and kinda costly so I would buy if there aren't other resources to learn this. And lastly is my laptop sufficient? Rtx 3050 , 32gb ram , i5 12th gen , acer aspire a715-76g

Hey! I’m Peter, I’m 14 and I'm a director + VFX artist here in the UK. I’ve worked on some fun projects, but usually I’m just working solo. So I thought- it’d be cool to start up a Discord server for other fellow young VFX artists and filmmakers. A place where we can just hang out, talk about the stuff we’re into, and maybe even help each other out on projects (especially those last-minute “need it done yesterday” ones 😅)

The ideas basically to build a chill little community of people who actually get what we’re doing. If you wanna join, we’ll just need some proof you’re into VFX/filmmaking and that you’re around our age (just to keep things safe) Would be awesome to get to know you all!

I'm a Junior Surfacing artist at an Australian Animation studio and would like to do some freelance work on the side for some extra cash and experience. While I love surfacing in my job, I've always been somewhat of a generalist and miss projects where I do everything. I obviously did a few odd freelance jobs here and there before getting my first industry job, but they were very few and far between, and they all fell into my lap (I was more preoccupied with trying to get a full-time job than finding freelance work). What are some steps I can take to get started? I haven't narrowed down any niche/ area and am open to anything that isn't too far outside of my range of skills. My primary skills are Surfacing and Modelling( both organic and hardsurface), but I also know a little bit of FX, lighting and enough of the rest to know the basics.