Orbitae FX’s Post

When it comes to the post-production process, a common question is: Does color grading come before or after VFX? The answer? It depends. While VFX usually happens first to provide a clean slate, some effects like day-for-night might need color grading upfront. #VFXforIndies #VisualEffects #VFX #Filmmaking

Sharing the breakdown of this look 🎥✨ – from color grading, VFX, to cinematic touches. 🚀 If you're curious how this style was achieved, drop your questions below, and I'll share insights! Let's learn and grow together. 👨💻🎬 #ColorGrading #VFXBreakdown #CinematicLook #FilmmakingTips #CreativeProcess #BeforeAfter #VideoEditing #ContentCreators"#VideoEditing #Filmmaking #ContentCreators #VisualStorytelling #CreativeProcess #BeforeAfter #VFX #ColorGrading #CinematicLook #TrendingContent #LinkedInCreators #ViralPost #FilmProduction #LearnAndGrow

When it comes to the post-production process, a common question is: Does color grading come before or after VFX? The answer? It depends. While VFX usually happens first to provide a clean slate, some effects like day-for-night might need color grading upfront. #VFXforIndies #VisualEffects #VFX #Filmmaking

Presenting you a Quick Flick - ' VFX Artist Can Never Be Late ' created by our students of Graphical Guru Academy. This video will surprise you for sure because it is full of superpowers created with VFX in After Effects. Kindly Like, Comment & Share if you like 🌟❣️ https://lnkd.in/dApVugas

We knew Sky Bet was taking a bold step with this brief, as it marked a conceptual departure from their direction over the past two years. Their recent output has leaned heavily into a naturalistic, documentary style, so the challenge was to seamlessly incorporate complex VFX that inspire a sense of wonder into this grounded, "real-world" aesthetic. The key was to ensure everything felt gritty, lived-in, and tangible, enhancing the contrast with the fantastical elements. Even those fantastical elements had to feel believable, adhering to realistic physics, lighting, and movement. Believability, rather than hyper-realism, was our priority. We set out to build a world full of imperfections, blemishes, and a deliberate lack of polish. Anything overly stylised or too clean was rejected, and the performances had to authentically mirror the audience's reactions to ensure that each scene was firmly grounded in reality. We continuously had to avoid anything that felt too cartoony, which is not always an easy task when you’re working with VFX.

Good Compositing Takes Many Iterations, Versions: How many times have you thought, “This shot is done!” only to realize it needs one more change ? That’s the life of a compositor. In VFX, we live through countless iterations—tweaking light, matching CG with live-action, perfecting every pixel until it feels just right. Every version is a step closer to creating magic. It’s not just work—it’s storytelling, problem-solving, and sometimes… obsessing over the tiniest details. Let’s be honest: it can be frustrating, but don’t we all love that “final” version (after 15 drafts)? How many iterations do you go through before you call it done? Let’s share stories—we’ve all been there! #VFX #Compositing #NukeCompositing #VisualEffects #CreativeProcess

**Unleashing the Power of Visual Effects in Documentaries 🎥🚗** Have you ever wondered how historical documentaries maintain their authenticity while captivating viewers with stunning visuals? Scanline VFX has set a stellar example with their work on "Senna," the documentary about Brazilian Formula One legend Ayrton Senna. 🌟 **Spotlight on Scanline VFX:** - **Archival Footage Enhancement**: The team mastered enhancing and restoring archival footage using color grading and digital restoration, ensuring that the charm of the original material is preserved. - **Seamless CGI Integration**: By integrating CGI elements, they brought new dimensions to the storytelling, making the film not only a narrative spectacle but also a visual triumph. 📈 **Industry Impacts**: - The improved visual coherence makes "Senna" a more engaging experience, highlighting how strategic VFX can elevate historical narratives. - Collaborations, like that between Scanline VFX and production teams, demonstrate the importance of synergy in aligning visual effects with the director's creative vision. In an era where visual storytelling is crucial, Scanline VFX exemplifies how craftsmanship in VFX can redefine documentary filmmaking. What other documentaries do you think could benefit from such VFX magic? Share your thoughts below! 👇 #VFX #Documentary #Innovation #FilmProduction #VisualStorytelling 🔗 Tagging pioneers in the field: @ScanlineVFX, @AnimationWorldNetwork, and anyone passionate about storytelling and filmmaking.

🎬 How to Create Stunning VFX Shots 🎬 Check out these essential tips to elevate your VFX game and create jaw-dropping visuals! #VFX #Filmmaking #SoundSightProductions

Working closely with the Six Foot Four Productions team, we delivered over 20 VFX shots for their latest film, At the Mercy. Early on, the decision was made not to use live sheep on set due to the time and effort it would take to round them up for each take. As a result, it was up to us to add the sheep in post-production. We initially explored creating full CG sheep, which we felt were about 90% there during R&D. However, given the need for total realism, we ultimately opted to use shot plates of real sheep, which were carefully rotoscoped into each scene. To ensure seamless integration, we meticulously matched the camera angles and lens settings for the sheep plates. Additionally, the colour grading had to be adjusted to match the field environment in the original shots, as the plate shots were taken in a green field setting. Another major VFX challenge was creating the impending dust storm visible in the distance during the film's opening scenes. To achieve this, we designed a large panoramic dust storm element that spanned the length of the scene, allowing the storm to gradually move closer throughout the sequence. Rotoscoping and luma keying were used to carefully composite the dust storm into each shot, ensuring it blended naturally with the environment.

When Sam Witwicky's date went all wrong... This shot is from Transformers 2. We made it at Digital Domain. It was a particularly challenging shot, because we had to blend the CG Decepticon (Alice the Pretender) with the real actress. I built the rig for this shot. I think Danny Patterson did the animation. Raul Dominguez did the concept art and model. Then there was look dev, lighting, compositing, and wrangling it all together. I think there was some Houdini in there. David S. Sanchez did the roto and plate projection. Joe Farrell and Steve Avoujageli worked some magic with thousands of FX passes and extremely difficult projection setups. Joe’s multple comp scripts were a site to behold. It takes a special combination of talent to bring together projects like this one. The producers coordinating the team have to be honest about everyone's strengths, know where to shore up weak points, and know when to let the talent run full speed ahead. There were, in some cases, 50+ revisions on various stages of this project. There was some keyboard smashing, fist pounding, and hair pulling... but it was worth it in the end. Lessons learned: you have to iterate to get it to the finish line. Some day I'll have to write an epic post about the story of the Pretender's tongue. (comment below if you worked on this shot so I can update this post)