T HERE ARE WOR D S YOU M AY N OT K N OW

VFX TERMINOLOGY

Have you ever heard or read a VFX term on the internet and
you didn’t understand what that term means? I have been in
this situation too. That is why I decided to put together this VFX
terminology guide which will help you understand what are all
those people on the internet talking about.

We will be primarily focusing on terms spinning around Digital

Matte Painters and Environment Artists.

Time to dive in.

W E ARE B U IL D IN G OU R WE B S ITE
 ABOUT

I REN A S MITAKOVA

I am a Digital Matte Painter and Environment

Generalist working for Film and TV. Recently
I had the opportunity to be part of the amazing
team on Award winning project The Lion King,
Artemis Fowl, Call of the Wild, Good Omens,
and so on.

I am no different from you, one day I was

a beginner too. If I could do it, you can do it!

I NSTAG RAM ART STAT ION WE B

WH AT IF S OM EON E AS K S
‘ ‘ WH AT IS .....? ’’

There certainly are terms which you may or

may not know, especially if you have never
met or talked to someone in the industry
or you haven’t watched as many tutorials
explaining certain terms.

Always remember that the more you know

the more you will understand anything in
the future Alpha Brush tutorials, the faster
you can connect information and the faster
it will all make sense and you will be able to
focus on the important parts a details. We
highly recommend you to grab a pen and
a notepad or open notes on your Tablet/
Phone, read this through carefully and start
writing down some notes. That is a very
effective way to learn and remember new
information.

Consistency and practise is something that

will get you where-ever you want.
I have already talked about consistency in
our Become a Matte Painter guide where
I was sharing plenty of useful information
for you to start with. There are certain
things you probably do not know and that’s
why you feel stuck, but don’t worry,
I understand, I was there too.

So let me start sharing those first simple 5

steps I have learnt to become a better artist.
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YOUR FIRST K E Y 5 STE PS TO S U CC ES S

ST E P 1
SET YOUR GOAL

ST E P 2
BE HUMBLE

ST E P 3
BE DEDICATED

ST E P 4
BE CONSISTENT

ST E P 5
LOVE THE PROCESS

DIS COV ER SU CC ES S FU L D M P A RTISTS

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D IS COV E R M OR E

AN D MAN Y MOR E IN TH E N E X T N E WS L E TTE R

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 HAV E YO U E V E R STU D IE D YOU R

LEARNING PROCESS
I thought I would include a little advice which could help
you with learning new skill set. This is something that helped
me as well as my friends, but remember you may want to figure
out your own way, your own habits that suit you.
Learning process we usually go through is almost every time
the same. If you look at any successful artist or even people
from outside of creative industry, they all have something in
common.
They all LOVE THE PROCESS, not only the final result. What a
lot of people struggle with is insecurity and a fear of failure. You
know, when you get that hype ’’I CAN DO THIS’’, you start but
after first, second, third practice you still don’t see the result
you wish it to be. You start feeling like you have failed or you
keep failing and you stop believing your ‘‘I CAN DO THIS’’.

But let me tell you something. You know when you or someone
asks someone ‘‘How long did it take him to create this piece?’’
and their answer is ‘‘I don’t know, probably like 2 days!’’ and
your mouth just stays open because you do not understand how
someone could create this piece in 2 days, how is that possible.
Let’s be straight. No matter who is your icon, whose successful
artist’s work you look at and you are amazed by, the work which
you see and you think it was done in 2 days...it wasn’t made in 2
days.
In reality, what they mean is ‘‘I have been learning and
improving my Matte Painting skills since 2013, so it took me 7
years to actually create this. Got it? It really takes a long time to
build up skills, so keep going even you are failing all the time.
That is part of the process

TIP
Give yourself at least 4-6 hours every week to learn something
new. Small steps can lead to big results.

ALPHA B R U S H ACA D E M Y
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DAVI D LUONG

CO MM O N TERMS U SED
IN MATTE PAIN TIN G
GLOSSARY IN ACCORDANCE WITH VES’(VISUAL EFFECTS SOCIETY) TERMINOLOGY
[REF: VISUAL EFFECTS SOCIETY HANDBOOK (LAST PRINT: 2010) ]

A ALPHA CHAN N EL

The portion of a four-channel image (RGBA) that is used to store PL AY

transparency information. Click the yellow box to watch the video.

AMBIEN T OCCLUSION

A CG shading method that uses a type of global illumination

to better compute self-shadowing of objects. Often used in
compositing as part of a multiple-pass rendering workflow.

AMBIEN T LIGHT
For computer graphics (CG), a directionless light source that
uniformly distributes light in all directions, illuminating objects
equally regardless of their surface orientation. CG ambient
lighting is used as an inexpensive way to simulate the indirect
illumination that occurs in the real world when light bounces off
of other objects in the environment.

AN IMAT IO N
Moving imagery that is created on a frame-by-frame basis. This
may be accomplished via the use of computers or with more
traditional cel animation techniques.

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AN T IALIAS IN G

Techniques used to mitigate the artifacts caused by a lack of

sufficient resolution.

APERT URE

(1)In a lens, the size of the opening that light passes through
(usually given in terms of its f-stop or t-stop). (2) In a camera body,
the mask opening that defines the area of film that will be exposed
on each frame. (3) In a projector, the mask opening that defines
the area of the frame that will be projected.

ART IFACT

A (usually undesirable) item in an image that is a side effect of the

process used to generate or modify that image.

AS PECT RAT IO

A single number that is the result of dividing the width of an image

by its height. The units used to measure the width
and height are irrelevant, since they will cancel when divided
together to give a unitless result. See also pixel aspect ratio.

AT MOS PHERE

A depth cue that causes objects to decrease in contrast as they

move into the distance.

A DD I T I ON AL

AS CII/AS CII FILE

Abbreviation for American Standard for Computer Information

Interchange. Pure and simple text file based on an American
standard. A very common alphanumeric text interchange format.
The term is used colloquially to refer to data that is stored in a text
format that does not require a special program to decode and is
usually somewhat comprehensible to a human reader.

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JACE K PI L ARS KI

B BACKGROUN D

In a composite, the bottom element over which all others are

added. In general, the background makes up the majority of the
image.

BAKE IN

Term used to mean that whatever settings, composite layers, color,

animation, and so on that have been used, have been permanently
set in the shot. For example, “Do not bake in any bad animation or
you will never be able to change it.”

BAN DIN G
An artifact that appears in areas of a color gradient where the lack
of sufficient color resolution causes noticeable bands instead of
a smooth transition. Also known as contouring. See also Mach
banding.

BATCH CO MPO S IT IN G
A method of compositing that entails the creation of a script or set
of instructions that will be executed at a later time, without the
need for a graphical user interface.

BEAUT Y PAS S
(1) In multiple-pass photography, the pass of the object that
contains the most color and detail, as compared with the matte
pass, reflection pass, or shadow pass. Also called the color pass.

(2) In multiple-pass rendering, the CG element that contains the

most color and detail information. See also light pass, matte pass,
shadow pass, and reflection pass.

BIT
bit: The basic unit for representing data in a digital environment.
A bit can have only one of two values: 0 or 1.

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BIT DEPT H

A way of specifying the color resolution in an image by measuring

the number of bits devoted to each component of the pixels in the
image.

BIT MAPPED IMAGE

An image that consists of a rectangular, two-dimensional array of

pixels. The standard method for repre­senting an image in a digital
format.

BLUE S CREEN

(1) Commonly used as a generic term that refers to bluescreen

photography or any similar process, which may use other colors
as well as blue. (2) Literally, a screen of some sort of blue material
that is suspended behind an object for which a matte is to be

BLUE S PILL

Any contamination of the foreground subject by light reflected

from the blue screen in front of which it is placed. See also spill,
green spill.

BOUN CE LIGHT

Light that is reflected or bounced off of other objects in a scene

before it reaches the subject.

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C CAMERA APERT UR E

The opening in a camera lens: It is usually referred to in f-stops

or t-stops. It allows a specific amount of light to hit the film or
sensor, thus resulting in an image. camera frustum: Basically,
what the camera sees. See also frustum and viewing frustum.

CAMERA/PROJECTION M A PPIN G

A CG technique in which an image is projected from the camera

onto a 3D object. This technique is useful for re-creating a
simulation of a 3D environment using 2D photographic elements.
Also called projection mapping.

CHAN N EL
For a given image, the subimage that is composed only of the
values from a single component of each pixel.

CHRO MA KEYIN G
A keying technique that allows one to separate an object from
its background based on colors that are unique to either the
foreground or background.

CHROMAT IC ABBE RATION

An image artifact that is caused by the fact that different
wavelengths of light are bent by slightly different amounts as they
pass through a lens. The artifact is usually seen as a color shift
along sharply delineated edges in an image.

CIN EON
A specific image file format used most often in film compositing
work

CLEAN PLAT E
A plate that differs from the primary plate only in that it does not
contain the subject(s) in the frame.

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CLON E

In digital paint, a method of copying information from one region

of an image to another,

CO DEC

A specific type of compression used on images.

COLOR CORRECT IO N

Any process that alters the perceived color balance of an image.

COLOR LO OKUP TAB L E

A lookup table that is specifically designed to modify color.

CO LO R MAN AGEME N T

A global term used to describe the process of producing consistent

color across a range of software and devices.

CO LO R RES OLUT IO N

The amount of data allocated for specifying the value of an

individual color in an image. See also bit depth.

CO LO R S PACE

Any method for representing the color in an image. Usually based

on certain components such as RGB, HSV, etc.

CO LO R T EMPERAT UR E

A method of specifying color based on an absolute temperature

scale, degrees Kelvin (K). The color is equivalent to the color of
light that would be emitted if a pure black object were heated
to that temperature. Higher color temperatures are more blue;
lower temperatures are more red.

COMPOS IT IN G

The manipulated combination of at least two source images to

produce an integrated result.

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CO N TACT S HADOW

A shadow that is cast from one object when it is in direct contact

with another object, as opposed to a shadow that is cast on a
distant surface.

CO N V ERS IO N

(stereo) Also known as synthesis. A process by which a planar

image is turned into a stereoscopic image a flat image into a 3D
image.

CPU

Abbreviation for central processing unit, the computational heart

of a computer.

D DAILIES

Imagery produced during the previous day’s work or a meeting to

view this work.

DEPT H OF F IELD ( D OF)

The depth of field of a specific lens is the range of acceptable focus

in front of and behind the primary focus setting. It is a function
not only of the specific lens used but also of the distance from the
lens to the primary focal plane and of the chosen aperture. Larger
aper­tures will narrow the depth of field; smaller apertures will
increase it.

DESAT URAT ION

A term that describes the removal or loss of color in an image.

A completely desaturated image would consist only of shades of
gray.

DO UBLE EXPOS URE

In the optical world, a double exposure is accomplished by

exposing two different images onto a single negative. The result
is a mixture of the two images. In the digital world, this effect is
accomplished by mathematically averaging the two images

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DYN AMIC RAN GE

The range of brightness values in a scene or an image, from

brightest to darkest, often expressed as a ratio. (2) In a digital
image, the total number of different colors in the image.

E ELEMEN T

A discrete image or sequence of images that will be added to a

composite.

EYE LIN E

Specific direction in which the actor looks. In visual effects,

usually a point that is frequently off camera to represent another
actor or object.
F FADE

Decreasing the brightness of an image over time, eventually

resulting in a black image.

F ILE FORMAT

A standardized description of how a piece of data (such as an

image) is to be stored.

F IX IT IN POST

A phrase commonly used when time and/or conditions prohibit

the ability to shoot a scene exactly as intended. Rather than
delaying the production, a decision is made to shoot as quickly
as possible and correct any problems during post-production,
usually using visual effects techniques;

F LARE

Any of a number of effects that will show up on an image as the

result of a light source shining directly into the lens of a camera.

FLAT

Another term for low contrast.

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FLOAT

A number defined with floating point precision.

FLOAT IN G PO IN T

A term used to describe a number in which no fixed number of

digits must be used before or after a decimal point to describe a
number, meaning that the decimal point can float.

FO RMAT

The size, resolution, aspect ratio, etc., for a given image. (2) The
file format for a given image. (3) The physical medium (such as
film, video, etc.) used to capture or display an image sequence. (4)
A multitude of additional variations and subcategories of the first
three definitions.

F RAME

A single image that is usually part of a group designed to be viewed

as a moving sequence.

F RAME RAT E

The rate at which sequences of images are captured or displayed.

The frame rate is usually measured in frames per second, or fps.

F REEZE

The process of stopping the action. In digital compositing, this is

usually accomplished by repeating the same frame for a duration
of time.

F REEZE F RAME

A single frame that is held for a duration of time.

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M A X X B URMAN

G GAMMA

In film, a measure of the contrast of an image or emulsion, based

on the slope of the straight-line portion of the characteristic curve.
(2) An adjustment applied to a video monitor to compensate for its
nonlinear response to a signal. (3) A digital effect used to modify
the apparent brightness of an image.

GAUS S IAN BLUR

A specific method for blurring an image based on a Gaussian filter.

warping, and various specialized distortion effects.

GLOBAL ILLUMIN ATION

A general term used to describe the modeling of all of the reflected
and transmitted light that originates from every surface in a scene.

GRADIN G
Another term for color timing, used primarily in Great Britain.

GRAIN
The individual particles of silver halide in a piece of film that
capture an image when exposed to light. Because the distribution
and sensitivity of these particles are not uniform, they are
perceived (particularly when projected) as causing a noticeable
graininess. Different film stocks will have different visual grain
characteristics.

GREYS CALE
A completely desaturated image, with no color, only shades of
gray.

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GREEN S CREEN

Identical in use and concept to a blue screen (only it is green).

(Note that in this handbook the standard is to use green screen
to designate the screen itself and greenscreen to designate the
process.)

GREEN S PILL

Any contamination of the foreground subject by light reflected

from the green screen in front of which it is placed. See also spill,
blue spill.

HIGH DYN AMIC RAN GE ( H D R )

Related to imagery or devices that can deal with a larger than

normal dynamic range.

HIGH DYN AMIC RANGE IM AGIN G ( H D R I)

A technique for capturing the extended tonal range in a scene by

shooting multiple pictures at different exposures and combining
them into a single image file that can express a greater dynamic
range than can be captured with current imaging technology

HISTO GRAM

A graphical representation of the distribution (usually frequency

of occurrence) of a particular characteristic of the pixels in an
image.

HUE

A specific color from the color spectrum, disregarding its

saturation or value.

A DD I T I ON AL

HSB: Hue, saturation, and brightness. A method of specifying the

colors in an image based on a mix of these three components.
HSI: Hue, saturation, and intensity. A method of specifying the
colors in an image based on a mix of these three components.
HSL: Hue, saturation, and lightness. A method of specifying the
colors in an image based on a mix of these three components.
HSV: Hue, saturation, and value. A method of specifying the colors

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P E TE R E L L ENS HAW

I ICC

Abbreviation for International Color Consortium.

ILM

Abbreviation for Industrial Light & Magic

IMAGE PROCES S IN G
The use of various tools and algorithms to modify digital images
within a computer.

IN -CAMERA EF FECTS
Visual effects that are accomplished solely during principal
photography, involving no additional post-production.

K KEY
(1) Another name for a matte. (2) The process of extracting a
subject from its background by isolating it with its own matte and
compositing it over a new background.

KEYER
A device or operation used for matte extraction or keying

KEY F RAME
Any frame in which a particular aspect of an item (its size,
location, color, etc.) is specifically defined. The frames that are
not key frames will then contain interpolated values. keyframe
animation: The process of creating animation using key frames.

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KEYIN G

The process of algorithmically extracting an object from its

background and combining it with a different background.

KEYLIGHT

The trade name of a color difference keyer developed by the

Computer Film Company (CFC).

L LEN S ART IFACT

Any artifact, such as a lens flare or chromatic aberration, that
appears in an image as a result of the lens assembly.

LIGHT PAS S
(1) In multiple-pass photography, the pass of individual lights
striking the subject, such as the key or fill, for later use in
compositing. (2) In multiple-pass rendering, the CG element that
represents the effects of a particular light striking the object. See
also beauty pass, matte pass, reflection pass, shadow pass.

LIGHT IN G REF ERE N C E

A stand-in object that can be used to judge the lighting in a scene.

LIN EAR COLOR S PAC E

A color space in which the relationship between a pixel’s digital
value and its visual brightness remains constant (linear) across
the full gamut of black to white.

LOCKED-O FF CAM E RA
A camera whose position and lens settings do not change over the
duration of the shot.

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LOG S PACE

Abbreviation for logarithmic color space, a nonlinear color space

whose conversion function is similar to the curve produced by the
logarithmic equation.

LOO K UP TABLE ( LU T)

An array of values used to convert data from an input value to a

new output value. See also color lookup table.

LEN S ART IFACT

Any artifact, such as a lens flare or chromatic aberration, that
appears in an image as a result of the lens assembly.

LUMIN AN CE
In common usage, synonymous with brightness. In the HSL color
space, luminance is the weighted average of the red, green, and
blue components.

M MACRO
(1) In the digital world, a combination of functions or effects that
are grouped together to create a new effect. (2) A specialized lens
that is capable of focusing at an extremely close distance to the
subject.

MAS K
An image used to selectively restrict or modify certain image-
processing operations on another image or the process of doing
so.

MATCHMOV E
The process of extracting the camera move from a live-action
plate in order to duplicate it in a CG environment. A matchmove is
often created by hand as opposed to 3D tracking in which special
software is used to help automate the process.

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MAT T E

An image used to define or control the transparency of . another

image. See also articulate matte, complementary matte, difference
matte, edge matte, fixed matte, garbage matte, hold-out matte,
rotoscoped matte, static matte, traveling matte.

MAT T E CHAN N EL

Another name for the alpha channel in a four-channel image.

MAT T E PAIN T IN G
A hand-painted image, usually intended to be photorealistic, that
is combined with live-action footage.

MAT T E PAS S
(1) In multiple-pass photography, a pass that is lit in some
high-contrast fashion so that it can be used as a matte during
compositing. (2) In multiple-pass rendering, a separate render
of the alpha channel of one of the objects in the scene for use
during compositing. See also beauty pass, light pass, reflection
pass, shadow pass.

MO CAP
Abbreviation for motion capture. A technique whereby an
individual being’s performance is captured and translated for use
in driving a CG being’s performance. Also known as performance
capture.

MOT ION BLUR

An artifact caused by the fact that a camera’s shutter is open for a
finite duration as it captures an image. Any object that is moving
during that time will appear blurred along the path that it was
traveling.

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MULT I-PAS S REN DE R IN G

A technique in which a 3D object or scene is rendered in a series

of separate images, each with different lighting or rendering
characteristics. Typical passes might include color, shadow,
reflection, key light, fill light, backlight. See also multiple-pass
photography.

N N AMIN G CO N V EN T ION S

The standardized names that are used within a facility to

differentiate the various elements and files that are stored on disk

N O N -LIN EAR CO LOR S PAC E

A color space in which the relationship between a pixel’s digital
value and its visual brightness does not remain constant (linear)
across the full gamut of black to white.

O O PAQ UE
The characteristic of an image that causes it to fully obscure any
image that is behind it. Opaque is the opposite of transparent.

O PEN EXR
A specific image file format designed for use with high dynamic
range imagery.

O RTO GRAPHIC
Representing a 3D object in two dimensions.

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STE V E N MES S S I NG

P PARALLAX

The perceptual difference in an object’s location or spatial

relationship when seen from different vantage points.

PARALLAX ( ST EREO)

The distance between conjugate points. It may be measured with

a ruler or, given the distance of an observer from the screen, in
terms of angular measure. In the latter case the parallax angle
directly provides information about disparity.

PERS PECT IV E
A term relating to the size and depth relationships of the objects
in a scene.

PHOTO GRAMMET RY
A method in which textured 3D geometry is created based on the
analysis of multiple 2D images taken from different viewpoints.

PHOTOREALIS M
A global term used to describe CG images that cannot be
distinguished from objects or scenes in the real world.

PIPELIN E
A well-defined set of processes for achieving a certain result.

PIXEL
Originally an abbreviation for picture element, although the term
pixel is generally considered to be an actual word nowadays. A
digital image is composed of a rectangular array of individual
colored points. Each one of these points is referred to as a pixel.

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PIXEL AS PECT RATION

The width of a given pixel divided by its height. A number of image

representation methods do not use pixels that have an equivalent
width and height. The pixel aspect ratio is independent of a
particular image’s aspect ratio. See also nonsquare pixels.

PLAT E

A piece of original photography that is intended to be used as an

element in a composite.

POST-PRODUCT IO N
Work done once principal photography has been completed.

POST V IS
Combines digital elements and production photography to
validate footage selection, provide placeholder shots for editorial,
and refine effects design. Edits incorporating postvis sequences
are often shown to test audiences for feedback and to producers
and visual effects vendors for planning and budgeting. Also see
previs, pitchvis, technical previs, and on-set previs.

PRECO MP
Abbreviation for preliminary composite.

PREMULT IPLIED IM AGE

An image whose red, green, and blue channels have been
multiplied by a matte. Usually this matte is stored as the alpha
channel of this image

PRE-PRO DUCT ION

Any planning, testing, or initial design that is done before actual
production begins

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PREV IS

Abbreviation for previsualization. Previs is a collaborative

process that generates preliminary versions of shots or
sequences, predominantly using 3D animation tools and a virtual
environment. It enables filmmakers to visually explore creative
ideas, plan technical solutions, and communicate a shared vision
for efficient production. Also see pitchvis, technical previs, on-set
previs, and postvis.

R R&D

Abbreviation for research and development.

REAL T IME
(1) Displaying a sequence of images at the same speed as they will
be viewed in their final form. (2) Computational processing that
appears to be nearly instantaneous.

REF EREN CE S PHER ES

Chrome and neutral gray globes, used on the set to visually record
the placement of lights within a scene. CG artists later use the
sphere(s) reference as a guide for placing CG lights to help make
CG and live-action objects appear to be in the same environment.

REN DER
The process of creating a synthetic image from a 3D data set.

REN DER FARM

A group of computers that is set up as a place to submit 2D or 3D
processes for non interactive computation.

REN DER Q UEUE

The list of tasks waiting to be processed on a render farm.

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REN DERMAN

Specialized rendering software offered by Pixar, Inc.

RESAMPLIN G

The process of reading previously sampled data for the purpose of

converting or modifying it.

RES OLUT ION

The amount of data that is used to capture an image. The term
-is typically used to refer specifically to the spatial resolution of a
digital image. See also color resolution, temporal resolution.

RGB
Red, green, and blue. The three primary colors or a method of
specifying the colors in an image based on a mix of these three
components.

RGBA
Red, green, blue, and alpha, grouped as a single unit.

ROTOS CO PE
Originally the name of a device patented in 1917 by Max Fleischer
to aid in cel animation. Now used as a general term for the process
of creating imagery or mattes on a frame-by- frame basis by hand.
Also referred to as a rota

ROTOS CO PED MAT TE

A matte created via rotoscoping techniques. rotoscoping: Also
known as “Rotoing.” The process of hand drawing or tracing
mattes around subjects. See rotoscope.

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M I K E J OHNS ON

S SAMPLIN G

(1) The process of reading a signal at specific time increments.

See also digitization. (2) The process of reading the color value

SAT URAT ION

The brilliance or purity of a given color. The difference between a

pastel and a pure color is the amount of saturation.

S CREEN RES O LUTION

The number of horizontal and vertical pixels • that a given display
device is capable of showing. This should be independent of the
resolution that the system is capable of processing.

S EQ UEN CE
(1) A collection of images designed to be played sequentially. (2)
A group of related scenes in a film, usually set in the same time
and/or location.

S HARPEN IN G
The process of applying an algorithm that emphasizes the edges
in an image. The result is an image that appears to have increased
sharpness.

S HARPN ES S
The visual sense of the abruptness of an edge.

S HOT
An unbroken continuous image sequence.

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S HUT T ER S PEED

The amount of time that a camera will spend capturing an

individual image.

RESAMPLIN G

The process of reading previously sampled data for the purpose of

converting or modifying it.

FORM AT S

READ MO RE ABOUT OPE N E X R FOR M AT

OpenEXR provides the specification and reference implementation

of the EXR file format, the professional-grade image storage
format of the motion picture industry.
The purpose of format is to accurately and efficiently represent
high-dynamic-range scene-linear image data and associated
metadata, with strong support for multi-part, multi-channel use
cases. The library is widely used in host application software
where accuracy is critical, such as photorealistic rendering,
texture access, image compositing, deep compositing, and DI.

OPEN EXR SOURCE HERE

READ MORE

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IMPORTAN CE O F U N D E R STA N D IN G V FX PIPE L IN E

Many of you have been asking what is tracking, lookdev, rigging, etc... I have found for you great
video explaining all of the VFX core concepts, which you as a VFX artist should know before you
start working at any VFX studio.

WATC H H E R E

One of the most interesting contents on Youtube is produced by a group called Corridor Crew.
These guys are not only very entertaining, but also they do a very good job at explaining VFX
techniques or why certain CG (computer graphics) or VFX in general look bad or good in specific
scenes. I highly recommend to hit subscribe when you visit them and set a routine for every day
to watch at least one video.

S U B S C R IB E

MIKE PANG RAZ IO OF ILM WORK S ON A M AT T E PA I N TI N G FO R “ R E TU R N O F TH E J E D I ”. L I V E-ACTI O N STAGE

P H OTOG RAPH Y WAS RE AR-PROJ ECTE D I N TO TH E A R E AS O F G L AS S L E FT B L A N K .

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“YOU DON ’T HAV E TO BE

GR E AT TO START, BUT YO U

HAVE TO STA RT TO BE

GR E AT.”

-Z I G ZI G LAR