From Unreal previs to real flames: Oscar-nominated The Lost Bus demonstrates that sometimes the hardest VFX work is making reality feel honest.

We spoke with Emma Kolasinska (Executive VFX Producer) and Tav Flett (Compositing Supervisor) to discuss how they used invisible VFX to support the unscripted television series without breaking emotional or visual authenticity.

We speak to Pablo Hellman about the second Wicked for Good film and it comes with a special treat of a gallery of behind-the-scenes images.

VFX supervisor Scott Stokdyk unpacks the visual effects of the latest Fantastic Four film, including how the team approached the film as three huge challenges.

Hear how Foundation season 3’s jaw-dropping visuals came together as Chris MacLean walks us through the season’s standout VFX challenges and innovations.

A conversation with DNEG VFX Supervisor Dan Bethell on how they turned sunny Sydney into a snow-covered New York as well as other work for Shane Black’s thriller, Play Dirty.

Shaders, AI, and bananas...Zap is back on the fxpodcast to break down his wildest experiments with generative AI yet.

We chat with Nichols & Thron about their careers and their new venture, SIGGRAPH highlights, and the future of filmmaking -- gaussian splats and all.

Fabricio Baessa, DNEG VFX supervisor, discusses the VFX of the Air Force One attack sequence in Heads of State.

Scanline VFX brings grit, glass, and grounded physics to Andor season 2 and Sue Rowe reveals how they did it.