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A new ‘depth compositing’ system was developed for Avatar that provides a pixel-perfect real-time composite in camera, that accurately positions live action and CG elements together, producing a very close approximation of the final shot while still on set. #WētāFX #VFX

Wētā FX

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94,195 views • 3 years ago •via X (Twitter)

Science & Technology News & Politics Arts #WētāFX #VFX

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Enjoy the VFX magic created by Image Engine VFX Studio for Netflix's Avatar: The Last Airbender live-action adaptation in a new breakdown reel showcasing how the world of Avatar was brought to life with CG. Watch it here: #AvatarTheLastAirbender #netflix #VFX

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Water was such a critical aspect of Avatar that we rebuilt our entire simulation approach to enable a new level of realism and interaction above and below the surface. #WētāFX #Avatar #AvatarTheWayOfWater

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It's no secret that Michael Bay likes to shoot his films with as much practical effects as possible. In #Transformers (2007) there is a shot where Optimus Prime and Megatron crash through a building, this shot was done practically using a miniature at 1/4 scale by ILM. Doing this shot practically allowed them to get the randomness of the destruction without having to do expensive simulations. The CG robots were then added into the shot to merge the photographic plate with the CG elements. When doing live-action films, it is always a good idea to shoot physically as much as possible. This provides the VFX artists with real world reference to ground their work in and allows them to compliment the shot with CG elements. One of the reasons the original Transformers trilogy looks so good is because of the incredible blend of practical and digital effects. It is difficult to watch the film and spot what is real and what is CG. ILM VFX Supervisor Scott Farrar talks through how this scene was pulled off:

It's no secret that Michael Bay likes to shoot his films with as much practical effects as possible. In #Transformers (2007) there is a shot where Optimus Prime and Megatron crash through a building, this shot was done practically using a miniature at 1/4 scale by ILM. Doing this shot practically allowed them to get the randomness of the destruction without having to do expensive simulations. The CG robots were then added into the shot to merge the photographic plate with the CG elements. When doing live-action films, it is always a good idea to shoot physically as much as possible. This provides the VFX artists with real world reference to ground their work in and allows them to compliment the shot with CG elements. One of the reasons the original Transformers trilogy looks so good is because of the incredible blend of practical and digital effects. It is difficult to watch the film and spot what is real and what is CG. ILM VFX Supervisor Scott Farrar talks through how this scene was pulled off:

Rassoul Edji

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A key shot in ‘THE PUNISHER: ONE LAST KILL’ that fans have mocked for being unfinished VFX was mostly an in-camera shot. The only VFX used in the shot was to swap out the stuntman’s face for Bernthal’s (Source:

A key shot in ‘THE PUNISHER: ONE LAST KILL’ that fans have mocked for being unfinished VFX was mostly an in-camera shot. The only VFX used in the shot was to swap out the stuntman’s face for Bernthal’s (Source:

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Here's a screengrab of the sections of the ML Deformer presentation in the State of Unreal stream that shows it in action. It shows an approximation to a full muscle sim that takes 1 minute per frame normally. Also does cloth approximation. Running live on PS5. #mldeformer #ue5

Here's a screengrab of the sections of the ML Deformer presentation in the State of Unreal stream that shows it in action. It shows an approximation to a full muscle sim that takes 1 minute per frame normally. Also does cloth approximation. Running live on PS5. #mldeformer #ue5

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Aang calmed a whole volcano without the Avatar state, using only AIR. Korra would have used the Avatar State and still lost to the volcano, killing everyone in that village. Again, Korra wasn’t an Avatar. She was only a manipulator of elements. That said, God punish Korra.

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The opening sequence of OCTOPUSSY has everything, action, humor, excitement, and uses all the elements of special effects trickery in the live action, model work, foreground miniatures and front projection. It was all shot in camera way before CGI and it's a scene I loved working on the most. 🎬📺 Octopussy ❤️🔥

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⭕️ JUST IN: Iran’s Foreign Minister Abbas Araghchi said Tehran and Washington reached general agreement on a set of “guiding principles” that will serve as the basis for drafting a potential deal. He described the second round of indirect talks in Geneva as “more constructive” than the previous session, said new ideas were raised, and noted that “good progress” was made, while adding that bringing the two sides’ positions closer together will take time and that drafting the agreement will be more difficult.

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#ProjectHailMary built two versions of Grace’s set to portray zero gravity elements. “We’ve never seen that before” and it was very “disorienting for Grace waking up and there’s a chair on the wall.”

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Crazy scene from Marco Polo, combining animation, live-action, and CG. This was a few years before Madhouse (who animated Marco Polo) would use CG in the Golgo 13 film; there are only a few instances of CG in anime before this that I can even think of.

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A new milestone for real-time accurate 3D spatial computing! Introducing ⚡️Fast-FoundationStereo⚡️, a real-time zero-shot stereo depth estimation model that accelerates the original FoundationStereo by >10x with comparable quality. Details in threads 🧵 (1/N)

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