Last minute travel, cramped flights, Uber rides stuck in traffic — you name it. In the professional world, this is just a small nuisance for some. You can still check your email, undergo simple tasks, and generally keep connected to most fields of work. For VFX artists, however, whose lifeblood is the system on which they work, travel can be a hard roadblock for progress.

ActionVFX Assets were used a long time ago in a galaxy far, far away! We were able to catch up with Chris Clements, VFX Producer at FXitinPost, to take a peek behind the scenes of the making of Scene 38. This reimagined scene involves the final confrontation between Darth Vader and Obi-wan Kenobi in Star Wars: Episode IV A New Hope.

One of the greatest gifts of Star Wars is its sheer variety. At the technical level, the subject matter covers the full spectrum of visual effects complexity: from entry-level all the way to the cutting edge. In your next short film based in a galaxy far, far away, try to grab a mixed bag—here’s a few killer tutorials to get you started.

When Adobe added the 3D Camera Tracker to After Effects several years ago, it was a complete technological breakthrough for compositors and VFX artists everywhere. The tedium of object tracking and manual keyframing was mostly alleviated with an effect that takes very little effort to execute. HitFilm Pro’s new 3D Camera Tracker works almost identically to the one found in After Effects, which is yet another testament to the value included in HitFilm Pro.

In order to have the most effective HDRI lighting simulations possible in your 3D comp, practical lighting references can be extremely helpful. If you want to take it a step further, we’re going to look at a method that will allow you to use those same practical lighting references to build accurate CG representations for your VFX shot with Cinema 4D and RedShift.