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This year’s After Effects Conference is quickly approaching, so we caught up with the producers of the event, FMC, to learn why this year’s learning jam session is one not to be missed.

COVID-19 has changed many aspects of our industry, but one of the most far-reaching is the boost it has given to interest in cloud editing technologies. Cloud-based editing was always going to prove popular — the flexibility it confers at a low opex cost is a compelling argument all on its own — but the pandemic has accelerated adoption dramatically.

Network television had a pretty good run. For decades, TV producers perfected their formulas to maximize viewership through scheduled weekly episodes. Streaming services have permanently disrupted television’s model by dropping entire seasons at once, adding an entirely new dynamic to the game. There’s no turning back the clock; television as we know it is changing forever, and streaming services are taking the lead.

In our latest interview, Production Designer Alexandra Schaller discussed her work on A24’s After Yang starring Colin Farrell. The film follows the story of a family that reckons with questions of love, connection, and loss after their A.I. helper unexpectedly breaks down.

Phil Prates is the FOLKS VFX supervisor behind Marvel's newest film Ant-Man and the Wasp: Quantumania. Ant-Man and the Wasp: Quantumania follows Ant-Man and the Wasp as they explore the Quantum Realm. They interact with strange new creatures and go on adventures that push their limits beyond what they thought was possible.

With the expansion of Inhance Digital's Visual Effects Department, their work has also expanded into the exciting fantasy world of NBC's, Grimm, inspired by the classic Grimm Brothers' Fairy Tales. Now entering into its fifth season, Jason Maynard from Inhance describes just how the team brings the fantasy world to life, how the effects are continuing to evolve and how Blackmagic Design Fusion Studio has helped.

After nearly a decade in development, E.D. Films’ ambitious, experimental animated short film Return to Hairy Hill (aka Retour à Hairy Hill) made its eagerly anticipated debut this week at Montreal’s prestigious Sommets du cinéma d’animation (Animation Film Summit). Featuring several first-of-their-kind techniques — including the studio’s proprietary 2D to 3D pipeline — the short was featured in the official competition alongside the best animated films originating from Canada.

In our latest interview, we spoke with Laurent Spillemaecker of FOLKS, the VFX supervisor for season 3 of Netflix’s The Umbrella Academy. This season FOLKS delivered around 570 shots in 9 months. They had to create everything from CG Ravens to flamethrowers to destruction and debris. Some of the other main things they developed was the KugelBlitz, a blob that grows and disintegrates things, and a Kugel-Wave, a magic shockwave that destroys anything in its path.

The visual effects industry is a turbulent place, but mid-sized studios can endure much like a larger global outfit or a nimble boutique if they place their focus in three core areas: technology development, specialization, and their people.

ProductionHUB sat down with President & Visual Effects Supervisor of BluFire Studios, Matt Hoffman, to talk about the CW’s new fantasy-adventure drama series The Outpost. Using Blackmagic Design’s Fusion Studio VFX and motion graphics application, his team created other-worldly characters.