All Episodes
befores & afters — 264 episodes
How those adorable sheep in 'The Sheep Detectives' were made
The visual effects of Widow's Bay
The VFX artist who changed my life
This Wētā FX animation roundtable was a total hoot
ILM's John Knoll reveals one of the toughest VFX sequences he's ever worked on
ILM's David Vickery on combining practical and digital
ILM's Cary Phillips on the development of Cari for 'Dragonheart'
Crafting that killer oner for season 2 of Daredevil: Born Again
Fire, explosions, water and deer: the visual effects of season 3 of 'The Night Agent'
The visual effects of Star Trek: Starfleet Academy
How to get the most out of the VES On-Set VFX Data Collection and Usage Guide
Behind the visual effects of 'Ted' season 2, including the bear, and the deepfake Bill Clinton
How ILM invented ambient occlusion for 'Pearl Harbor'
A mysterious creature in a mysterious retirement community: the VFX of 'The Boroughs'
A deep dive into the visual effects of 'Murderbot'
The old-school show-within-a-show in 'Wonder Man' used some old-school effects techniques
The art of CG ping pong balls and crowds in 'Marty Supreme'
How to make a photoreal CG octopus: the VFX of 'Remarkably Bright Creatures'
In-depth on the all the key explosive visual effects in Netflix's 'Man on Fire'
How the artistic innovations behind the 'Spider-Verse' films led to a Scientific and Technical Award
ILM's Ben Morris reflects on 'The Last Jedi' and 'ABBA Voyage'
ILM's Rachel Rose on the R&D side of visual effects
ILM's Jeff White breaks down that incredible oner from 'The Avengers'
Rob Bredow shares 'Solo' stories, and how ILM inspired him before he was even at ILM
A deep dive into Wētā FX's visual effects for 'A Minecraft Movie'
ILM's Janet Lewin reflects on more than three decades with the studio
The creatures of 'Keeper'
Our new ILM podcast series starts with Dennis Muren!
Alec Gillis on the practical effects design process for 'Predator: Badlands'
How the in-house VFX process worked on s2 of 'The Sandman'
Crafting 'Andor' season 2
How on-set scanning of environments and actor capture works
How Framestore helped make the creatures and cinematography of 'Prehistoric Planet: Ice Age' feel so real
Phil Tippett updates us on the state of his personal projects, and his view on AI
What it's like to run a visual effects studio in China
The painterly art and tech behind stop-motion animated 'The Girl Who Cried Pearls'
Infinite Realities on the path to 4G gaussian splatting in digital human capture
Saint Walker on the new Core Skills of VFX Handbook 2025
Discussing a new era in visual effects with Phantom Media Group
The art and tech behind the body morphing in 'Together'
What the role of CTO involves at Wētā FX
How The Roddenberry Archive is preserving 'Star Trek' history
Paul Franklin reflects on the VFX of 'Interstellar'
Behind that crazy creature work in the finale of 'The Umbrella Academy'
What exactly does the role of a visual effects producer involve?
How they made the new 'Lilo & Stitch'
The surprising use of visual effects in season 6 of 'The Handmaid's Tale'
How Steamroller Animation made a 30 min animated pilot episode in Unreal Engine
Version Zero AI has a splines output solution for AI/ML rotoscoping
The latest machine learning side of Silhouette
AI and ML in VFX from a VFX artist/supervisor point of view
Behind the development of Slapshot's AI roto and generative retiming tools
Where Wonder Dynamics has now gone with its AI VFX tools
The dream of AI roto with Electric Sheep
How Rising Sun Pictures' REVIZE machine learning tech came to be
Metaphysic's neural HMC performance injection tech
Wētā FX used its Loki state machine for muscle simulations on Red Hulk in 'Captain America: Brave New World'
Why planes flying at hundreds of miles an hour is really tough to pull off in VFX
Sponsored: How Reallusion AccuFace was used on 'Love is a Championship'
How the motion capture worked on 'Better Man'
The visual effects of 'Alien: Romulus'
Will Becher from Aardman on the old-school and new-school tech in 'Wallace & Gromit: Vengeance Most Fowl'
The wide use of machine learning VFX techniques on 'Here'
How the Academy Software Foundation works
How to get VFX into your Sundance film
Miniatures, puppets, lightsabers and Purrgils
How to make practical bubble effects
How DNEG made the troll in s2 of 'The Rings of Power'
The virtual production behind 'Daddio'
How the wrestling scenes in 'Unstoppable' were made
In-depth on face replacement, environments and that crazy tennis ball POV shot in 'Challengers'
Animation producer Jinko Gotoh on getting her start on 'Space Jam'
Sponsored: How ActionVFX assets were used in 'Godzilla Minus One'
The visual effects of 'Dune: Part Two'
The making of 'Gladiator': a look back with VFX supervisor John Nelson
The VFX and stop-motion animation in 'Beetlejuice Beetlejuice'
The visual effects of 'Percy Jackson and the Olympians'
Starting a startup in the world of VFX training
Matt Estela: a life
The invisible visual effects in 'Longlegs'
How the Visual Effects World Atlas might change your perspective on the VFX industry
Creating alternate versions of reality for 'Dark Matter'
'Sky Captain' turns 20: looking back at filmmaking on the digital backlot
Behind the invisible effects of 'The Instigators'
How Wētā FX made that 5400 frame Vermithor dragon oner in 'House of the Dragon'
Sponsored: How Reallusion tools were used for concept previs on '3 Body Problem'
A preview of the VFX and animation conference VIEW taking place in Italy in October
A look at the state of play of virtual production with Jim Geduldick
The state of play in VFX employment right now
VFX supervisor Stephan Fleet on the latest mayhem he helped orchestrate for 'The Boys'
Celebrating the CG legacy of 'The Last Starfighter'
The machine learning tech behind Digital Domain's in-house facial capture tool Masquerade3
All about the motion base mechs in the Jennifer Lopez film, 'Atlas'
Behind the tests, on-set shoot and CG animation of the characters in 'IF'
The visual effects of Pixar's 'Inside Out 2'
How those nuclear explosions in 'Fallout' were made
How multiple Robert Downey Jr.'s appeared on screen in 'The Sympathizer'
How 'Ripley' used VFX to aid in its storytelling
Go behind the scenes of this full-length CG anime from HaZ Dulull
The creatures of 'Avatar: The Last Airbender'
You might not even notice any VFX in 'We Were the Lucky Ones'
Creatures, battles, environments -- the big VFX in 'Halo The Series' s2
The invisible effects of 'Lawmen: Bass Reeves'
All about time slipping and spaghettification in 'Loki' s2
VFX supe Jason Zimmerman on Star Trek: Discovery s5 and Strange New Worlds s2
Stefen Fangmeier on the big '3 Body Problem' VFX moments
Visual effects problem solving: the dinosaurs of '65'
Chris Nichols on Chaos' new adventure in virtual production
Going from VFX artist to short film director
Making slimer, a sewer dragon and those Mini-Pufts for 'Frozen Empire'
Tim Landry reflects on his time at Dream Quest and at Disney Imagineering
How the animatronic baby from 'The Matrix' was made
'Godzilla x Kong: The New Empire' VFX supervisor Alessandro Ongaro
Yeti creator Colin Doncaster on the challenges of VFX software development
What you didn't know about how that helicopter rescue in 'The Matrix' was filmed
Preview the big sessions of FMX 2024 with Mario Müller
Eyeline Studios' new tech volumetric capture tech used on 'YuYu Hakusho'
The stuntvis behind that stunning oner 'Guardians of the Galaxy Vol. 3'
Virtual sets in Doctor Who
Going from greenscreen buck to soaring creature
A new kind of VFX collective emerges with Dream Machine FX
How Cartoon Saloon got to play in the Star Wars universe
The effects of 'Napoleon' were so convincing, Ridley Scott thought they had killed a stunt performer
'Oppenheimer' special effects supervisor Scott Fisher on what the Trinity Test explosions in the film were made of
The crazy, intricate work behind DNEG's VFX for 'NYAD'
David Silverman on the influence of music, and how he got started on 'The Simpsons'
The virtual production tech behind the new 'Ted' television series
Behind the scenes of Aardman's 'I Am Your Mother' Star Wars: Visions short
How Framestore turned Hugh Grant into an Oompa Loompa for 'Wonka'
Hugo Guerra on directing his ZEISS CinCraft Scenario film
Wētā Workshop's Richard Taylor on crafting the horrifying creature in 'The Tank'
How they made this music video by painting the talent silver
Nick Dudman on the make-up effects and creatures in s2 of 'The Wheel of Time'
How the live-action plate shoots worked for nature documentary series 'Life on our Planet'
The Wheel of Time: how do you make a fiery dragon?
Celebrating 30 years of Digital Domain
Making a Star Wars short: the creative process behind 'Sith'
Genetically re-engineered samurai dinosaurs! The making of 'KYORYU'
How to make a CG Idris Elba
Here's what actually goes into making a talking animal movie
Celebrating 25 years of PDI's Antz
Behind the biggest VFX scenes in 'Foundation' s2
You might be surprised how Tinkerbell in 'Peter Pan & Wendy' was made
VFX supe Mike Fink looks back at Batman Returns, bamf'ing and Golden Compass bears
The Third Floor's Casey Schatz on simulcam, motion bases and the eyeline system on 'Avatar The Way of Water'
'Andor' production visual effects supervisor Mohen Leo on designing VFX shots
Behind the scenes of 'Wednesday', its on-set performer for Thing, and complex creature effects
ILM's Grady Cofer and Hal Hickel break down the visual effects in s3 of 'The Mandalorian'
How the astonishing real and mech dog in 'The Nevers' was made
How beloFX used Unreal Engine for their rooftop shots in 'The Last of Us'
A comprehensive update on the state of play of Wētā Tools at Unity
Ted Lasso's football matches were made on a 'stand-in' field, with greenscreen, crowd sprites and other VFX
How they made that spectacular Harrison Ford bus/train jump in 'The Fugitive' with optical front projection tech
Special effects supervisor Gerd Nefzer reflects on the practical effects of 'Dune'
The incredible scale, forced perspective, in-camera and invisible effects in 'I'm A Virgo'
Blowing up model airplanes for a film (against hobby shop owner wishes!)
Imagining a singing, dancing croc on set with Actor Capture
Making miniatures and props for 'Asteroid City'
Looking back at the early innovative VFX in commercials with Eric Durst
The Left Angle founders discuss new comp and mograph tool Autograph
Virtual production on an indie budget
How Monkey Chow made these mocap action clips for ActorCore
'The Last of Us' VFX supervisor Alex Wang talks clickers, environments and THOSE giraffes
How 'Andor's' real London locations were the basis of Coruscant finals
How 'Handmaid's Tale' used virtual production to plan a train station scene
How this short film was a test bed for rigging and stylization tools, and new real-time compositing in Unreal Engine
The process of postvis on 'Cocaine Bear'
Bringing 'Matilda' to life with more VFX than you might at first realize
Treating ships like characters in the final episode of 'Star Trek: Picard'
Urban Bradeško, aka the Explosions Guy, talks sparse GPU accelerated volumetric fluid solver Axiom
A preview of FMX with Mario Müller
Making vampire chimps for 'Let the Right One In'
The history of markerless motion capture company Move.ai
VFX supe and director Adam Valdez on making the UE5 short 'Brave Creatures' with new real-time tech
VFX supe Russell Dodgson explores three seasons of 'His Dark Materials' magic
How to plan for huge VFX sequences: the VFX supe and VFX producer on 'Slumberland'
How Blender Studio's latest film, with a realistic human character, was made
A deep dive into Cinesite's visual effects for 'Wakanda Forever'
How they make the fire in 'Fire Country'
Go in-depth on the visual effects by Fuse FX for 'Wendell & Wild'
How the VFX for 'All Quiet on the Western Front' were made
Digital people, CG water, miniatures, morphing: 'Titanic' had it all
Where do I find befores & afters VFX content? Your handy guide is here.
'The Voice in the Hollow' is an Unreal Engine short with a difference
Framestore on designing an immersive exhibition for the Science Museum in London
Scott Eaton on the state of A.I. in art
Ending the world (multiple times) for 'The End is Nye'
The invisible effects of The Northman
The VFX behind the forging of the Three Rings in 'The Rings of Power'
#VFXInsight: How Reallusion's automatic character rigging app AccuRIG came to be
From 'Gravity' tethers to Ragdoll Dynamics
Access:VFX has expanded
Rob Bredow on the state of play of virtual production at ILM
Kevin Baillie on the virtual production of 'Pinocchio'
How to build a CG mountain lion (and make it attack Kevin Hart)
Pinocchio: going from virtual production to VFX
Making a CG zoetrope for a Pharrell Williams music video
Wētā FX on the tricky task of crafting battling Asgardian kids in Thor: Love and Thunder
How DNEG Animation gave 'Entergalactic' its stylized look
Solving a 3D boat scan was a big part of Industrial Pixel's beginnings
Rose Duignan and Hal Hickel on the history of ILM
The AI tool used to redub F-bombs and go from an R rating to PG-13
How FuseFX built ships and creatures, and de-aged Dolly Parton for s3 of 'The Orville'
Rising Sun Pictures VFX supe Dan Bethell on 'Thor: Love and Thunder'
Behind the lighting tech behind those stunning scenes in Ragnarok and Love and Thunder
The creatures of 'Resident Evil'
This new RenderMan Walking Teapot short film pays homage to an animated classic
Making a bird skull god and a hippo god for 'Moon Knight'
How all those sparks in Pixar's 'Lightyear' were created
The main on end titles for 'Moon Knight'
NVIZ on the previs of 'Morbius'
ftrack's Fredrik Limsater on the state of play of production tracking
Moving from VFX to games: meet Blinkmoon
The practical and digital effects of 1997's 'Anaconda'
Concept designer Ben Mauro on building his HUXLEY universe
The VFX art department: a chat with Cinesite's Madeleine Scott-Spencer
Zendaya and Tom Holland's wire work, digi-doubles, and the art of comp'ing hair
The evolution of Richard Linklater's rotoscoped animation films
De-ageing, destruction and other digital effects in 'The Adam Project'
The virtual production behind the pirate ship scenes in 'Our Flag Means Death'
Pixar's Danielle Feinberg on the studio's new tech in 'Turning Red'
From VFXer to trucker: Louis Katz's story
'Wheel of Time' VFX supe Julian Parry on designing the One Power
The art and tech behind 'The Witcher's' Nivellan
What it's like to work on the VFX for a Super Bowl spot
Douglas Trumbull on his plan to change cinema
VFX supervisor Scott Stokdyk on the digital human breakthroughs in 'Spider-Man 2'
VFX supervisor Kaitlyn Yang on starting a VFX studio, diversity in VFX and more
Pipeline, tools and tech with Cinesite
The making of SideFX's new renderer, Karma
Behind the scenes of 'My Universe' from Coldplay x BTS
The visualization tools and techniques behind The Third Floor
The FreeMoCap Project
How Halon previs'd 'Free Guy'
Christos Obretenov on the new wave of stylized rendering
How do you edit a live action/CG hybrid film?
How a deep learning renderer was used to re-animate a character's lines in 'Free Guy'
Facial capture, CG and cut scenes on Codemasters' 'F1 2021'
Framestore's FIRA for portable real-time rig deformation
Where are we at with virtual production?
The first model or miniature
The first film to use an all-CG photoreal character
The first digital wire removal on a film
The first digital matte painting
The first digital face replacement in a film
25 years of Foundry
The first motion capture used in a film
The first motion control shot in a film
The first NLEs and digital editing, with Evan Schiff
The first Nuke composite
The first ocean simulation in a film
The first previs for a film
The first stop-motion
What was the first film to use Houdini?
The first cloud tank
Paul Debevec on Light Stage 3
How the 'Harry Potter' miniature Hogwarts Castle was made
Shane Mahan on the practical Dilophosaurus in 'Jurassic Park'
Phil Tippett on RoboCop's ED-209
The alpha channel and Alvy Ray Smith
Elastic Reality
The Bullet Time rig from The Matrix
The Dinosaur Input Device
Welcome to the befores & afters podcast!