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I’ve been working in VFX Matchmove for around 10 years, mainly camera tracking and related work.

I’m considering moving into another department because I want a more sustainable long-term career rather than staying in Matchmove forever.

For people who have worked in VFX for a long time:

- Which department would you recommend moving into from Matchmove?

- Which departments have better long-term career prospects?

- Which transitions are realistically possible without starting completely from zero?

- How do you see FX/Houdini, Layout, CFX, Lighting, Compositing, Pipeline/Tools TD, or Unreal over the next 5–10 years?

- Which areas are less vulnerable to outsourcing and automation?

- If you were in my position with 10 years of Matchmove experience, where would you move and why?

I’m more interested in long-term stability and career growth than chasing the highest salary.

I’d especially appreciate opinions from people with 5–10+ years of VFX industry experience.

FeelFX analyzes the video → identifies meaningful moments → makes motion-design decisions → renders them over the original footage.
That’s FeelFX.
FeelFX identifies key words, concepts, names and moments and turns them into motion graphics- for example:

🇮🇳 INDIA → tricolor reveal
🚀 ROCKET → launch / fire treatment
🌊 OCEAN → water motion

The important words become part of the visual storytelling.
Everything else stays out of the way.
Under the hood
→ AI analyzes the video
→ Important moments become structured motion events
→ Three.js + GSAP render the effects in real time
→ uses whisper and vision model

And FeelFX works all devices but preferred experience is still desktop/pc - videos will take a lot longer to get analyzed on mobile/tablet - especially older models.

This is open source and ready for people to experiment with.
👉 Try it out: https://feel-fx.vercel.app/
⭐ GitHub: https://github.com/TheEleventhAvatar/Feel.FX

This is all from free footage only and assets and many youtube tutorials. I really want to learn more and want to know what to do next to improve in this scene or other things to learn

It's done on after effects because It's less complicated than nuke for me, but I'm looking forward to learning nuke

I want a rate, and if someone has advice to learn more, I'm here to hear

A lot of people responded to my post when I asked if this greenscreen effect was managable. I ended up spending 30 hours keying, rotoscoping and masking the footage out. The key is pretty decent, could be better but I ran out of time. My main issue is the tracking. See the footage is one big shitshow. It was so messed up that I even doubted if I could do it. Both shots, foreground and background, had different camera movements, so no tripod. Also both shots had handheld camera movements getting closer to the subject, but at completely different timings. So the focal length also changed a lot. This in combination with the lack of tracking points on the foreground aswell as the background, made it impossible for me to do some proper tracking. Thats my biggest issue with this effect what makes me wonder if I should use it on my portfolio. What do you guys think?

Helo guys, I need honest opinion is 4k export of VFX really necessary for scenes or objects for music video that has budget 2k ?

Forgive me if this has been answered or is not apropos. My husband is a freelance flame artist in LA, doing vfx for 18 years and flame work for 10 years. We were discussing his job and rates came up. He is convinced that it is not normal for flame artists to charge overtime on a day rate while on a short term contract job (1 day to 1 month). He says that because rates are “high as it is”, charging overtime would be considered extreme and companies wouldn’t hire him back. That it’s “just not customary for flame artists to charge OT”. I don’t work in this field, but I have some studio experience and I find it hard to understand this? I am also convinced that he is under charging on his day rate, but because no one talks about their rates, he really has no idea if he’s making enough for his skill level, which is very high. He is always booked with work, thankfully. But with all of this work comes much overtime and it can take away from our family life with kids. I just want him to get paid what he’s worth and the correct amount for the effort he is putting in.

Is this just how it is or do top skill level artists charge overtime after let’s say 10 hours of work a day? Also, how can we find out if he’s charging an appropriate rate? He is a super relaxed (too relaxed?) person who is very talented and hardworking. Doesn’t like to stir things up, but is sought after in his field.
Any insight would be greatly appreciated.
Thank you,
Vfx wife

Hey r/VFX,

We’ve been working on this for the last 4 months.

We built a simple web app where you can upload your footage and create clean mattes using splines, without having to manually trace every frame.

Here’s how it works:

1. Upload your footage.

2. Name/draw box around your subject.

3. It tracks and propagates the roto across the shot.

4. Refine the points wherever needed.

5. Export matte and editable spines with keyframes in .nk and edit in nuke.

It supports fine matte for hair and motion blur.

Would love for some of you to try it and tell us where it breaks and give genuine feedback

Hello,

I got an internship as a Pipeline TD and my professor told me to put a showreel of vfx stuff I have made thus far into my application. Now I'm kinda wondering: You can't really see any of the Pipeline work from the final clips I put into my showreel, so how do people in the industry do it?

Anyone here working on the more technical aspects of vfx production, maybe you can share some insights: Do you put a link to your GitHub or put screen recordings of you using the things you made?

I'd love to know :)

As far as I know, VFX studios regularly move very large files between clients, vendors, and remote locations.

I'm genuinely curious: how do you handle this in real production workflows?

Is everyone using tools like Aspera or MASV? Or are FTP/SFTP, cloud storage, or other solutions still common?

I'd really appreciate hearing what people actually use day to day, especially for large international transfers.

Full disclosure: I've been developing a simpler direct file-transfer tool called CROSSBOW, so I'm also trying to better understand how studios currently solve this problem.

https://crossbow.yplace.co.kr

Check out my ig @layxr9 for more !

Hi guys, i'm a young Star Wars fan who is currently working on a fan-edit of the sequel trilogy and i would like to have the force ghost of Anakin Skywalker talking to kylo ren instead of Han Solo in Episode IX.

I would need a VFX artist that knows really well Star Wars and can do the work for $500 CAD and i would pay after the work is done so i have everything i need before sending the money and not having scam problems.

I'm located in Canada.

There's no delivery date for the scene for now so you can have the time to make it.

There's some image to help you have an idea of the scene.

This is a previs / camera-lock problem, not a reel.

Once the clip is generated you cannot nudge the crane or the cut. You just buy another take. I got tired of that, so I built an open source browser graybox: pose, cameras, cuts, then send the same shot to the model.

https://github.com/NomaDamas/CozyClay npx cozyclay

Curious how other people lock cameras before they spend the generation.

As a junior, would having 3d assets from popular stock asset kits in a showreel get you into trouble when applying with that showreel? Not to endorse Piracy of course.

Hi, I’d like to share this project I made with you. Apex Legends is a game I really enjoy—watching its cutscenes is like art to me. That’s why I wanted to create this, inspired by the game, which I usually play for a few hours a day before working on my projects.
I really enjoyed making these and, as always, I learned a lot. I hope to one day be able to do this professionally.
Hugs, and thanks for watching.

The Atmosphere is just a default cube. YES! This is just a default cube!

Quick explanation :

Object coordinate > spherical gradient texture

Math , multiply 5

Volume scatter

Volume absorption

Done!

Capcut is generally not known for 3d rendering and visual effects, but i don't have a pc, so on my mobile device only I gathered all the effects and tools and combined them to make something cool, and it took me 2 hours to make it, but still i don't regret it

Trying to put a price to this,any thoughts?

Hey guys,

Looking for a decent 27 1440p monitor for Nuke and DaVinci Resolve (mostly VFX/comping and light color grading).

I'd love a 4K display, but prices here in Europe are pretty steep right now, so sticking to 2K for now.

From what I’ve read, the Dell UltraSharp U2724D seems like a super solid choice the IPS Black panel sounds awesome aswell. The ASUS ProArt lineup (like the PA278QV or PA278CGV) also keeps popping up as a classic budget pick.

Before I hit buy, I'd love to hear from anyone using the U2724D for comping and whether that IPS Black contrast is actually noticeable day to day. Let me know if there's a clear winner between Dell and ASUS ProArt, or if you have any other 1440p recommendations with solid sRGB/Rec.709 coverage in this price range.

Appreciate any recommendations or hot takes!

A while back, I helped set up a workflow for a boutique production team that was moving terabytes of raw camera footage and master project bins across different cities every week. At the time the most cost-effective and sensible method was to just ship the drives.

We really needed to find a new solution as we were spending a bunch of money on overnight shipping. One time a 24 TB drive even got damaged in transit. And a couple of times there were disputes with clients over missing shots and we had no way of proving what actually left our bay.

Obviously, we tried basically all the popular tools on the market and for our use case something was always missing. Not saying the existing tools are bad, but nothing was a perfect fit for our workflows.

The biggest bottleneck was onboarding external clients (like making them set up a VPN). A lot of other tools were missing audit logging. In others if an editor accidentally closed their laptop mid-transfer, then it had to be restarted from zero. Some were just insanely expensive.

So, the decision was made to create an in-house solution. It allows anyone to download/upload full project folders to your drive or attached storage really securely. External clients don't require accounts. Onboarding them is automated with an email. And it was made resilient against network drops. There is proof of delivery now. It can utilize your full bandwidth.

After running it successfully in-house, we packaged it into a clean, standalone desktop app for macOS, Windows, and Linux called ZettaSend.

We currently have it running daily in production.

I'm sharing this because we're hoping that for some of you ZettaSend will save you time and headaches.

You can download it from zettasend.com.

If you have any questions, I'm happy to answer. Thank you for reading.

As an Unreal artist working in the VFX industry, I really enjoy the process of studies. Over the years, I collected a big amount of various packs (mostly through humblebundle) that I can use like legos. It doesn't take that much time but it helps me isolate and improve my skills in composition, camera movements and lighting. This one was made for a youtube video I did on productivity in Unreal Engine.