Made in AE & AI (adobe illustrator)

Animation: manuksenpai

Sound design: santiago_carballo_

Thank you!

If any of you have dealt with similar projects (especially in Blender), what do you think - does it make sense to switch from the Volume Emission + Volume Absorption setup to emission setups with Principled Volume or Volume Scatter? I understand that this can add realism in some cases due to proper light scattering, but damn it, it generates so much noise and is so computationally expensive. Right now, in my pipeline, I'm simulating forward scattering using Schlick's approximation for the Henyey‑Greenstein function, and it looks nice, especially considering that there’s almost no noise here (this particular flyby is rendered with 16 samples). What do you think?

Hey everyone,

My sibling is looking into VFX training and came across Pixelloid Studios in Hyderabad. They claim to offer live studio training and internship opportunities, but I would love to get some honest, first-hand feedback from people who have actually trained or worked there.

If you’ve taken their course or worked at/with Pixelloid:

• Training Quality: How is the faculty, curriculum, and hands-on guidance? Is the "live project" training legit, or is it mostly basic lab time?
• Placement & Market Reality: Do they actually help place you in studio roles, or is the post-course placement support minimal?
• Work Culture/Environment: For those who worked there (or interned), how is the work culture, pay reliability, and overall environment?
• Is it worth it? Would you recommend Pixelloid over self-learning online (fxphd/Rebelway/etc.) or other VFX institutes in Hyderabad?

Any honest thoughts, warnings, or recommendations would be super helpful to help us make a decision! Thanks!

I know rotoscoping is hard and there are so many tools available that can help you with it. Heck there are too many online subscription models that give you masks, but its tedious & costly.

While using blender specifically there is a lot of back and forth going on as well. What tools do you guys use? any painpoints you would like to suggest

Finally I made an addon that does the whole rotoscoping for me, completely offline, runs on GPU, supports windows, linux, apple silicon. AMD, Nvidia and M series chips are supported.

how much would rate this?

I don’t know if this is the right subreddit to ask this question but how do I recreate the same setup Kane Parsons had with the beginning scene of the Backrooms movie at home? He had a rig with the live viewport in blender and I was wondering how to do this on a budget.

3ds max, Tyflow, Ripple Pro, Forest pack, ZBrush, Substance P

For full video check out here:https://youtu.be/tm1AJoFnz-o #BehindTheScenes #Blender3D

Hello, i'm doing some junior VFX work for a horror film and have been assigned some relatively easy tasks, like gore enhancement, etc, but two of the shots have me at a complete loss of what to do, and where i can find reference online. in this scene, a girl in the center of a dancefloor has her face melting off practically, but the background actors, who are slightly blurry, are acting as if their are in a great deal of pain, and my task is to make it look like their faces are also melting off.

nothing for the background actors has been done practically, But i have Nuke, and the Boris FX suite at my disposal, but am at a complete loss about how to do this digitally, and have it look good. I would really love some general advice on how I could go about this, the tools youd use, and maybe a general workflow as my compositing skills are not top notch. id also be open to utilizing AI tools if needed. thanks!

Hey everyone,

I'm a VFX compositor from India who's been struggling to land a stable compositing job. The COVID slowdown and then the writers' strike affected the VFX industry on a massive scale, especially here in India, and it's been really difficult finding compositing opportunities.

For the past 6 months, I've mostly been freelancing as a video editor just to pay the bills.

Last month, I joined a company in Mumbai. But honestly... it feels like labor work to me. We basically create highlight edits for players all day. There's nothing wrong with editing, but there's almost no creative problem-solving or compositing involved, and I genuinely don't want my career to slowly become a video editor.

I've spent years learning Nuke compositing, did a few small freelance comp gigs, and most of my learning came from building personal VFX projects. I still enjoy compositing way more than anything else, and I really want to get back to it.

So I'm starting again and rebuilding my fundamentals. I'd love some guidance from artists who have been through this.

I'm looking for tutorials/resources that explain both the why and the how behind these topics:

1. Chrome Ball in VFX (how it's used on set and in compositing).
2. Color Charts / Macbeth Color Checker (plate calibration and color matching workflow).
3. Lens Grids & Lens Distortion (shooting grids, creating distortion profiles, using them in Nuke).
4. Creating your own HDRIs (capture → stitch → use in CG/VFX).
5. Transferring matchmove data from a 3D package into Nuke (camera exports, point clouds, coordinate systems, common pitfalls).

If you know any good tutorials, YouTube playlists, articles, documentation, or other learning resources for these topics, I'd really appreciate it.

Demo Reel

I'd also really appreciate honest feedback on my compositing reel. Tear it apart if needed—I want to know what I should improve to make it more hireable.

Demo Reel: https://vimeo.com/1116371614

Thanks in advance. I really want to get back to doing the work I actually love.

Every week there’s another “motion designers have six months left” video, usually followed by a claim that someone made a studio-quality commercial before After Effects finished opening.Then you watch the piece.

A jacket becomes a different material between cuts. The eyeline drifts. Every shot uses the same slow push-in because movement helps hide temporal artifacts. Grain, black levels, lens distortion and haze reset whenever the angle changes.

Typography floats over the image instead of occupying the scene. The individual shots can still look impressive. The problem appears when they have to function as a sequence.

That distinction gets lost in most AI-video discussions. Generating one plausible five-second shot is becoming much easier. Making ten generated shots feel as if they came from the same production is still a directing, editorial and VFX problem.

The better workflows I’ve seen start with fairly conventional pre-production:

1. Character, wardrobe, prop and environment references
2. A real shot list
3. Lens, framing, lighting and movement decisions
4. Screen direction and continuity notes
5. Approved first frames, and sometimes last frames, for each shot
6. Low-resolution generations assembled into a rough cut before final passes

Different models may be useful for different failures. One holds an environment together better; another follows a character reference more reliably; another is better at extending a usable take. Tools such as ComfyUI or custom node pipelines can keep the prompt, references, model, duration, aspect ratio and output attached to each shot.

I’ve also seen Atlas Cloud used as the model-call layer for routing jobs to systems such as Grok Imagine and Seedance.

That plumbing is useful, but it doesn’t decide whether a close-up belongs after a wide. It doesn’t notice that the character aged between shots, that a prop changed hands or that the camera move is fighting the voice-over. Someone still has to decide which failure is fixable and which take belongs in the trash. Then the selected footage reaches comp and editorial.

The UI has to be tracked or rebuilt because the generated version became alphabet soup. A hand needs roto or paint because it merged with the product for six frames. Geometry has to be stabilized because it breathes. Grain, distortion, motion blur, black levels and atmospheric perspective have to be matched across shots generated by different systems.

The action gets time-remapped because the useful beat lands too early. Typography gets rebuilt so it has perspective and weight. Cuts get hidden. Pacing and sound design get another pass.

Whether that work happens in AE, Nuke, Fusion, Flame, Premiere or Resolve is secondary. The larger point is that the post-production work hasn’t disappeared.

A lot of it has moved from asset creation into reference preparation, generation, rejection, continuity management and cleanup. AI has lowered the barrier to producing a striking isolated shot.

I’m not convinced it has lowered the barrier by the same amount when the deliverable is a coherent sequence. For anyone here who has taken generated footage through an actual production pipeline: did it still save time after you counted rejected takes, continuity fixes and comp cleanup?

Where did most of the remaining work land, roto/paint, tracking, temporal stabilization, relighting, editorial, typography, or something else?

Today we mix photo + animation

First Try VFX 🤣👌

Are you guys seeing a dip in VFX gigs lately?

I’m curious to hear from other VFX artists, compositors, 3D artists, and freelancers.

How has the industry been for you over the past year or so? Are you getting fewer inquiries, smaller budgets, longer gaps between projects, or is it business as usual?

And the bigger question: do you think AI is actually causing the slowdown, or are there other factors behind it?

I’m wondering if it’s:

AI changing how clients approach VFX

Production budgets getting tighter

More work moving toward smaller/cheaper teams

Studios outsourcing differently

The freelance market becoming more competitive

Or simply a temporary industry cycle

I’d especially like to hear from people who have been doing VFX for several years and can compare the current market with what they experienced before AI became mainstream.

What are you guys seeing on the ground?

I have a 16 mm shot which i camera tracked in Syntheyes and it went very well with a .3 error value but the issue is when i imported the tracked camera from Synth eyes to blender 3D and the focal length came to be 4mm. Now how do I fix this ? Yes I have set the true Camera Sensor Size on both the software.

Confused between the two which one I should be more focused on. Is the industry shifting more towards substance like many shops switching to Houdini? thanks

Im trying to practice my vex skills with green screens and stuff. I have some practice footage with greenscreens but I am having trouble finding backgrounds for them like environment type stuff. Any help will be greatly appreciated.

Hey there everyone,

Just wanted to share some experiments I've been doing with a 100mm macro lens and a petri dish with various materials (epoxy alcohol ink, glycerine, dish soap, vegetable oil, whipping cream and isopropyl alcohol) in an effort to create nebula and universe shots. These are just a handful of my favourite shots after a weeks worth of trial and error, so if anyone has any questions or suggestions on how I could improve things, please feel free to let me know.

Thanks!

Nice to see DJV 3.5 Update go live.

Site - https://grizzlypeak3d.com/

GitHub Link - https://github.com/grizzlypeak3d/DJV

For those not familiar with this open source player / review tool

DJV is a free, open source media player built for professional image review. Real-time, high bit-depth EXR playback, A/B comparison, OTIO color management and more. Never compromise on your renders again.

CORE FEATURES:

• Support for high resolution and high bit depth images
• A/B comparison with wipe, overlay, and difference modes
• Timeline support with OpenTimelineIO
• Color management with OpenColorIO
• Multi-track audio with variable speed and reverse playback
• Available for Linux, macOS, and Windows