fxguide

15 stories

fxguideVFXfxpodcast: Wētā FX brings the ocean, lava and islands of Moana to life The ocean has comic timing. The volcano has a temper. Wētā FX has some explaining to do on our latest fxpodcast.

11.05

fxguideVFXProject Hail Mary: FPS giving Greig Fraser the controls A detailed deep dive with Framestore Pre-production Services on putting virtual cameras, lighting and live composites into the cinematographer’s hands for Project Hail Mary.

10.26

fxguideVFXDNEG on making cartoon logic work in Coyote vs. Acme Alexander Seaman, VFX Sup and Keith Roberts, Animation Director discuss Coyote vs. Acme: the physics are optional, but the falling piano is non-refundable.

10.08

fxguideVFXCreating 4K from Apple Immersive (AIV) Expanding the audiences for Immersive AIV films with faithful 4K conversion.

10.06

fxguideVFXVFXShow 310: Coyote vs. Acme The laws of physics plead the Fifth as we cross-examine Coyote vs. Acme on the latest VFXShow.

10.06

fxguideVFXVFXShow 309: The End of Oak Street Join the team for our latest episode as they dig deep into how the film was made, debate what worked and what didn’t, and put the filmmaking choices under the microscope.

09.09

fxguideVFXCongrats to the Engineering, Science & Technology Emmy Award winners The Television Academy and the National Academy of Television Arts & Sciences announced the 2026 Emmy Awards for developments in television engineering, science and technology.

09.04

fxguideVFXCrafty Apes CEO Alana Newell From compositor to CEO: Alana Newell on the future of Crafty Apes.

08.31

fxguideVFXThe power of on-premises open-weight models for generative media An look at adopting generative AI open-weight models and how they can improve workflow stability, security, cost predictability, and delivery efficiency.

08.28

fxguideVFXNikola Todorovic on Autodesk Flow Studio’s new 3D Editor + Canvas Go with the Flow—AI filmmaking just got directable, with a system that combines interactive 3D scene construction with the visual power of generative 2D video models.

08.24

fxguideVFXVFXShow 308: Spider-Man: Brand New Day Join us for our friendly neighbourhood disagreement about the latest film from the Marvel Cinematic Universe.

08.14

fxguideVFXImpossible Objects superpowers VFX production with AI models running on HP ZGX Nano How Los Angeles based Impossible Objects are using HP ZGX Nanos to bring new artist-driven AI workflows alongside traditional vfx tools.

08.11

fxguideVFXInside DNEG’s Invisible Effects for Citadel Season 2 DNEG'S Daniel Baldwin on the fire, full-CG crashes, seamless camera handoffs, and more on the invisible effects for Citadel Season 2.

08.10

fxguideVFXVecna, Demogorgons and Young Will: Inside the VFX of Stranger Things S5 VFX Supervisor Betsy Paterson breaks down Stranger Things season 5. The best visual effects don’t replace reality, they convince reality to play along.

08.03

fxguideVFXVFXShow 307: The Odyssey Can a ten-year voyage finally bring the vfxshow crew to a shared opinion about Director Christopher Nolan? Probably not. But listen and find out for yourself.

07.28

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo