Kevin Baillie, Creative Director & Sr. VFX Supervisor for Method Studios, talks through this year's Oscar nominees for Best Visual Effects -- 1917, Avengers: Endgame, The Irishman, The Lion King, and Star Wars: The Rise of Skywalker. Baillie began his career two decades ago as an 18-year-old pre-viz artist on Star Wars: Episode I. Since then, he has worked on Harry Potter, Star Trek and Transfomers movies, among many others. He is a member of the Academy of Motion Pictures Arts and Sciences.

From Stanley Kubrick's 2001: A Space Odyssey to Disney's Star Wars spin-off series, The Mandalorian, visual effects are breaking barriers and conventions year after year. Taking us through some of these pivotal VFX moments in film history is visual effects artist Steven Bray, who's worked on shows including The Crown, Sherlock and Silent Witness. Join Bray as he breaks down Yul Brynner's heat vision in Westworld, Jurassic Park's CGI dinosaurs and those Davy Jones tentacles from Pirates of the Caribbean: Dead Man's Chest. #VisualEffects #FilmHistory #CGI

Todd Vaziri, one of the most accomplished visual effects artists working today, uses the power of Twitter to answer some of the internet's burning questions about visual effects. What movies have some of the best VFX ever? Why does The Mandalorian look so good? How come Jurassic Park still holds its own today? Todd Vaziri is a Visual Effects Artist whose work includes: Black Widow, Star Wars: The Rise of Skywalker, Thor: Ragnarök, Rogue One, Captain America: Winter Soldier, The Avengers, Star Trek, and Transformers. Follow him on Twitter at: https://twitter.com/tvaziri

The five films nominated for an Academy Award this year for visual effects were each selected for their own unique reasons. Kevin Baillie, a VFX artist who was worked on some of Hollywood's biggest movies, breaks down the visual effects in this year's Oscar nominees.

Ayan Mukerji's multi-starrer Brahmastra has delayed its shoot completion and therefore its release, quite a few times. It looks like the film, starring Alia Bhatt, Ranbir Kapoor, Amitabh Bachchan and Mouni Roy, may be delayed yet again due to the Coronavirus

Airship is currently seeking a Senior VFX artist to help drive the creation and quality of VFX across the studio on multiple projects. If you have the experience and enjoy working with a focused group of talented and passionate game devs, then we're the place for you!Responsibilities Creation of stylized, hand-crafted 3D VFX for characters, action combat, and supernatural environments Implementation of, and technical setup of all work using Unreal and related tools Troubleshooting work and optimization of effects for performance on multiple platforms (PC and consoles) Collaboration with art leads to collect feedback and iterate on work Collaboration with other disciplines to ensure timelines and coverage across the game Self-regulation of time and resources to keep pace with project needs Oversight on outsource VFX resources, including direction, feedback, and integration Required Experience building 3D VFX in Unreal 5+ years of commercial game development experience At least one notable shipped title, demonstrating the ability to take a project to completion Proficiency with all tools necessary to create (from scratch) stylized, hand-painted 3D VFX assets Knowledge of modern 3D game engines and the tools required to implement VFX in-game, including the creation and use of shaders and/or scripting A demo reel that shows significant relevant work Pluses Shipped titles on PC and consoles Airship is located in sunny, thriving Austin, Texas. If you have experience making games and want to work on compelling, creative multi-platform titles, this might be the place for you.Some of the benefits we offer: Full health benefits including medical, dental and vision Profit sharing Generous PTO 401k plan Relocation packages Plus... Office movie lunches Snacks on snacks on snacks Work on a small team of experienced devs with a lively atmosphere Please note, due to a high volume of applicants we cannot reply to each individually. Only those in consideration for a position will receive a reply. Thank you!

2018 lands with a distinct thud as Charlotte Jee tackles Meltdown and Spectre, David Price wrestles with Apple's batteries and its new iMac Pro, before Miriam Harris works through the Bafta nominations for visual effects. Henry Burrell leads us down the rabbit hole.

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Zero

U/A: Comedy, Drama, Romance
Director: Anand L Rai
Cast: Shah Rukh Khan, Katrina Kaif, Anushka Sharma
Rating: 

For a couple of decades now, relentlessly citing exceptions like Swades (2004) and Chak De India (2007), viewers (and fans) of actor Shah Rukh Khan have often complained about how he plays SRK on screen, regardless of the script, which pretty much is designed around him playing himself, in some form or the other, anyway.

Alert to this obvious feedback, and with audiences, in general, upping its expectations, even from wholly star-driven pics—demanding a certain level of authenticity in stories regardless—you find SRK trying hard to up his own game. Which is great, of course. Raees (2017) and Fan (2016) are relatively good examples on that front. With Zero, as actor-producer, he appears to be trying a bit too hard, I suspect.

For one, this SRK film doesn't star SRK at all! He plays a Meeruthiya, uneducated 'bauna' (dwarf) Bauua Singh, obsessed with two women, almost simultaneously. Both ladies seem out of his reach. One's a fully celestial Bollywood heroine. That's Katrina Kaif. Tells you a lot about this film that she comes across as by far the most credible character around—a heart-broken drunk, dumped by a certain superstar with the surname Kapoor, who "pretends to be a misunderstood, shy type, but is actually a full-on ch*****."

Check out the trailer here:

The other woman (Anushka Sharma), strangely modeled on Stephen Hawking, in a high-tech wheelchair, her mouth contorted, wrist twisted and shaking, is a space scientist. She meets the vertically challenged dude through an odd, offline version of a matrimonial site. What she likes about him is that he can overlook her disabilities and see her as the person she is, rather than somebody one must simply sympathise with.

There is much banter between the two. This is tricky stuff. I understand that all humour is at the expense of some person/group or the other, and we mustn't get all too sensitive about such matters. But I just felt slightly discomfited throughout—mostly in anticipation of a poor joke, punching downwards, rather than one that actually occurs (expect tonnes of think pieces on the web soon though!).

As a viewer, you are rarely made to look beyond the fact that she suffers from cerebral palsy. More so, that he's about a foot shorter than usual, a man-child at the centre of this film— in his late 30s, wholly jobless bloke, blowing up his father's money. You can't tell if he's a duffer or just a dwarf. As if the two were even vaguely related. He is supposed to be a die-hard romantic. Your heart must melt for this simpleton still.

It's hard, if not impossible, to feel anything for such a parody of a person, as Zero jerkily jostles between heartland, rustic realism (Aanand L Rai's Tanu Weds Manu), and a far-out romantic fantasy, vaguely along the lines of SRK's wonderfully sorted Om Shanti Om (2007), also partly set in show-biz. You're in fact bored rather than bothered by all the travels on screen.

The only take-away is how tough it must've been to pull this off. Which is true for films of this massive scale—regardless of the emotional payoff. The VFX work, cutting down SRK's size, is by itself a work of art. And that's just a fraction of the craft and cost involved in a picture perennially on a flight of imagination—whether the penny drops, or not.

Guess it'd be impossible for filmmakers to attempt a leap of faith so high, without quite convincing themselves that they're on to a masterpiece. One hopes (for them), others feel so too. Clearly, I didn't.

Also Read: Zero Movie Interview: Shah Rukh Khan, Katrina Kaif And Anushka Sharma Reveal All

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Even if you’re not a hardcore fan, there’s enough visual wizardry to keep you entertained for the duration of Star Wars: The Rise of Skywalker's running time.

Tanhaji Movie Review: Ajay Devgn and Saif Ali Khan ensure that the viewers get enough dose of high-voltage dialogues, along with fascinating action scenes.

Ayan Mukerji's multi-starrer Brahmastra has delayed its shoot completion and therefore its release, quite a few times. It looks like the film, starring Alia Bhatt, Ranbir Kapoor, Amitabh Bachchan and Mouni Roy, may be delayed yet again due to the Coronavirus

Downsizing VFX Supervisor Jamie Price breaks down the history of people miniaturization in movies.

Go behind the scenes of Ant Man and the Wasp with Danielle Costa, vice president of visual effects for Marvel Studios, as she explains all the amazing ways that CGI experts made characters bug-sized, enormous, and microscopic. Ant-Man & the Wasp is available now on digital and Blu-Ray.

BBC VFX
The History of the BBC Visual Effects Department

By Mat Irvine and Mike Tucker

• The definitive history of the world’s first, largest and longest-running dedicated TV effects department.

• Covers fifty classic BBC shows in every genre.

• Series featured include Doctor Who, Blake's 7, Monty Python, The Hitchhiker’s Guide to the Galaxy, The Goodies, Are You Being Served and many more.

• Filled with anecdotes and insights into how the effects were created.

• Illustrated throughout with fascinating production photos and sketches, most of which have never been published.

The BBC Visual Effects Department closed its doors in 2003. For almost fifty years it had been responsible for some of television’s most iconic images – from exploding newsreaders on Monty Python’s Flying Circus to Blake’s 7’s majestic Liberator sailing through outer space.

Using interviews with the effects designers, together with concept drawings, production photographs and stills from completed programmes, this book tells the story of the VFX Department and celebrates the work of a group of craftsmen who lived by the mantra, ‘If it can be imagined, it can be made…’

Working largely before the age of CGI, the Department was responsible for every kind of visual effect, from physical effects such as rain and explosions, to miniatures and models, to sculpture and animatronics.

Filled with fascinating insights, wonderful stories and numerous photographs and artworks which have never been published, this is an essential book for FX fans and anyone who loves television

Mat Irvine and Mike Tucker worked for many years in the BBC Visual Effects Department. Mat left the BBC in 1993 and has been pursuing other projects as writer, producer and director. Mike now runs The Model Unit at Ealing Studios. Both, individually, are writers, Mat having written twelve books on scientific and hobby subjects while Mike is the author of several original novels and Doctor Who novelisations.

BBC VFX: The History of the BBC Visual Effects Department is available to purchase here