• How BlueBolt VFX Recreated 1930s Piccadilly Circus for Downton Abbey: The Grand Finale

    If you saw Downton Abbey: The Grand Finale, you likely remember the opening moments: a majestic shot that starts by panning down the Shaftesbury Memorial Fountain, moves through 1930s Piccadilly Circus — electric with traffic, glowing with billboards, alive with crowds — before gliding into the Richmond Theatre, where a performance of Noël Coward’s operetta…


  • What Makes Us Human? ArtFX’s Azimuth Answers with Heart – and Wins at the 24th VES Awards

    In a year defined by conversations about AI, identity, and what makes us human, one student film dared to ask a deeply personal question: If technology could recreate someone you love, would that be enough? Last night, the Visual Effects Society celebrated the 24th annual VES Awards, honoring exceptional artistry and innovation across film, television,…


  • Nick Wilde in a suit and Judy Hopps in a dress in a scene from Zootopia 2.

    The Making of Zootopia 2 with Walt Disney Animation Studios

    After more than a century of storytelling and innovation, Walt Disney Animation Studios continues to move the medium forward with Zootopia 2. Using Autodesk Maya to build new worlds and Flow Production Tracking to keep thousands of assets in motion, more than 700 people came together to create the film now nominated for Best Animated…


  • GDC 2026: Autodesk Flow Studio for Games Workshop

    We’re heading to GDC 2026 from March 9–13 — and we’re bringing something special with us. As the global game development community gathers in San Francisco to shape the future of interactive experiences, we’re hosting a live workshop designed to spark fresh ideas and hands-on exploration. Join Harvey Newman — Animation Director, YouTuber, and Founder…


  • A polar Bear picking Pepsi in a blind taste test

    How Framestore Created a Pepsi‑Loving Polar Bear for the Super Bowl

    When millions of people tune in for the Super Bowl, the commercials are as much a part of the culture as the game itself. For brands, the stakes couldn’t be higher. For visual effects studios, Super Bowl spots are a rare opportunity to bring full‑blown cinematic ambition to advertising. This year, one of the most…


  • Wednesday: How Rodeo FX Delivered Creature and Environment VFX for Season 2

    From the towering gothic architecture of Nevermore Academy to the ferocity of its werewolves, go behind the scenes with Rodeo FX on their visual effects work for Wednesday Season 2. Using the Autodesk Media & Entertainment Collection, the team delivered immersive environments and creature effects that expand the show’s dark, iconic world that fans love.…


  • Creating Epic Norse Battles: How Xilam Blended 2D and 3D animation on Twilight of the Gods

    Xilam Animation, a renowned French animation studio founded in 1999, has become a leader in 2D and 3D animation. The studio creates, produces, and distributes original content for children and adults alike, with its work broadcast in more than 190 countries worldwide. Xilam’s rich catalog features iconic titles such as Oggy and the Cockroaches, Zig…


  • How This 3D Artist Transformed His Animation Workflow with Flow Studio

    When you talk to Italian–Australian 3D artist Giacomo Cervi, one thing becomes clear almost immediately: he’s driven by a love of craft and a hunger to explore what’s possible. Based in Milan and working across automotive, fashion, music, and sports, his path has taken him from student to teacher to professional artist, and now to a creator who’s reshaping his animation workflow with Autodesk Flow…


  • 8 Tips for Getting the Most out of Autodesk Flow Studio 

    Just getting started with Flow Studio? These tips and tricks—from filming basics and platform best practices—are here if you need a little extra guidance to get the best results. 1. Dress for AI Mocap Success  Clothing with clear contrast and a good fit can help movement read more clearly. Keeping the performer visible from head…


  • Remote production, secure workflows: Securing IP in a world of distributed production

    At first, the shift to remote collaboration in media and entertainment was gradual – an experiment in efficiency. Studios sent animation jobs overseas, split VFX work across vendors, and slowly built the connective tissue of global pipelines.  Then came the pandemic in 2020, and that slow evolution became a sprint. Practically overnight, bedrooms became edit bays and dining room tables turned into production offices. Rendering moved to…