Filmmaking

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Paddington in Peru VFX; a bear tied in rope steering a boat wheel

Paddington in Peru's use of previz turned a London studio into a jungle

By James Clarke published

Framestore reveals its VFX secrets.

VFX
Making Paddington in Peru's ruined city; An elevated, high-angle view showcases a section of a stone ruin, likely a historical site, with a person navigating the crumbling structures.

"It was one of the most complicated scenes we had to do" – how Paddington in Peru's Citadel was made

By James Clarke published

Framestore reveals how Paddington's Peruvian bear-city was made.

VFX
Cartoons of the 1950s - best animated movies of the 50s; A heartwarming animated scene depicts two canine characters sharing a meal of spaghetti and meatballs at a table outdoors.

Cartoons of the 1950s – the best animated movies from Lady and the Tramp to Animal Farm

By James Clarke published

The best animated movies of the 50s chosen by today's professionals.

2D Animation
Making Paddington in Peru's character animation; a small bear in a red had sat in a jungle

Paddington in Peru's animation works because of one small detail

By James Clarke published

Framestore's VFX team explain why the famous bear is so realistic.

VFX
How we made Ada; A digitally animated scene depicts two women in a grand, antique-style library, with one pointing.

How we made the "lush, handmade look" of animated series Ada

By Elizabeth Cox published

Writer and director Elizabeth Cox shares how the Should We Studio mixed 3D and 2D animation techniques.

3D Animation
Making Wicked's flying monkeys; a CG screaming monkey

How Wicked's terrifying flying monkeys were created

By James Clarke published

ILM made them incredibly lifelike.

VFX
Wicked concept art; a painting of a monkey's face

31 pieces of spellbinding Wicked concept art, from flying monkeys to the epic Emerald City

By Ian Dean published

I'm bewitched by ILM and John M. Chu's vision for Wicked's design.

Digital Art
Making the visual design of The Brutalist; a man sits in a shadowed room

"There was a sense of scale and grandeur about every shot": How we made the ethereal visual design of The Brutalist

By Ian Dean published

Film colourist Máté Ternyik reveals how the Oscar-nominated movie built its unique aesthetic.

Film & Video
Logo for Disney Plus

How could Disney dropping DEI affect the future of animation? Tell us what you think

By Ian Dean published

Join the conversation.

Entertainment
Elphaba sits on broom

Why Defying Gravity was Wicked's "most difficult sequence" to film

By James Clarke published

Cynthia Erivo was committed to the visual effects spectacle.

VFX
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