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  <title>CG VFX &amp; Misc - RSS Feed</title>
  <link>https://www.cgshort.com/browse-cgvfxmisc-videos-1-date.html</link>
  <description>CGShort Animated Short Films VFX Passion VfxBreakdown CGI Computer Graphic</description>
  <item xmlns:media="http://search.yahoo.com/mrss/" xmlns:dcterms="http://purl.org/dc/terms/">
   <title>The Mill - Inside the VFX of The Golden Age | Reinventing Archive Footage for Cinema</title>
   <link>https://www.cgshort.com/the-mill-inside-the-vfx-of-the-golden-age-reinventing-archive-footage-for-cinema_93c7f55c4.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/93c7f55c4-1.jpg"  /></p><p>How do you transform authentic archival footage into a seamless work of fiction?<br /><br />Selected for Cannes Classics, The Golden Age (L'&Acirc;ge d'Or) challenged conventional visual effects by blending documentary archives with newly filmed performances, allowing its characters to exist naturally within real moments from history.<br /><br />In this interview, director B&eacute;renger Thouin and Hugues Namur, VFX Supervisor at The Mill (ex-MPC Paris), discuss the creative collaboration that began long before production. Together, they reveal how visual effects became part of the film's storytelling language, combining traditional compositing, face replacement techniques, deep learning workflows and meticulous practical filmmaking to create an immersive cinematic experience.<br /><br />Discover how archival footage was transformed into living cinema through months of creative experimentation, precise performances by Souheila Yacoub, and innovative visual effects designed to make audiences forget where documentary ends and fiction begins.<br /><br />???? The Golden Age (L'&Acirc;ge d'Or)<br />Selected for Cannes Classics<br /><br />Featuring:<br />&bull; B&eacute;renger Thouin, Director<br />&bull; Hugues Namur, VFX Supervisor, The Mill<br /><br />ABOUT US<br />The Mill is a world-leading creative studio built on nearly four decades of award-winning craft. Spanning Brand &amp; Content and Film &amp; Series, we create visually ambitious work for the world's most discerning brands, studios and storytellers &mdash; conceived from the outset to move across platforms, markets and audiences without compromise.<br /><br />FOLLOW US<br />Website: https://www.themill.com/<br />LinkedIn: https://www.linkedin.com/company/the-mill<br />Instagram: https://www.instagram.com/millchannel<br />X: https://x.com/MILL__CHANNEL<br /><br />#TheMill #VFX #VFXBreakdown #CannesClassics #Filmmaking #VisualEffects #PostProduction #AI #DeepLearning #Cinema #BehindTheScenes</p>]]></description>
   <pubDate>Mon, 29 Jun 2026 17:28:08 +0000</pubDate>
   <media:content medium="video" duration="194"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>The Mill - Inside the VFX of The Golden Age | Reinventing Archive Footage for Cinema</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/93c7f55c4-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;&amp;lt;p&amp;gt;How do you transform authentic archival footage into a seamless work of fiction?&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;Selected for Cannes Classics, The Golden Age (L&apos;&amp;Acirc;ge d&apos;Or) challenged conventional visual effects by blending documentary archives with newly filmed performances, allowing its characters to exist naturally within real moments from history.&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;In this interview, director B&amp;eacute;renger Thouin and Hugues Namur, VFX Supervisor at The Mill (ex-MPC Paris), discuss the creative collaboration that began long before production. Together, they reveal how visual effects became part of the film&apos;s storytelling language, combining traditional compositing, face replacement techniques, deep learning workflows and meticulous practical filmmaking to create an immersive cinematic experience.&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;Discover how archival footage was transformed into living cinema through months of creative experimentation, precise performances by Souheila Yacoub, and innovative visual effects designed to make audiences forget where documentary ends and fiction begins.&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;???? The Golden Age (L&apos;&amp;Acirc;ge d&apos;Or)&amp;lt;br /&amp;gt;Selected for Cannes Classics&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;Featuring:&amp;lt;br /&amp;gt;&amp;bull; B&amp;eacute;renger Thouin, Director&amp;lt;br /&amp;gt;&amp;bull; Hugues Namur, VFX Supervisor, The Mill&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;ABOUT US&amp;lt;br /&amp;gt;The Mill is a world-leading creative studio built on nearly four decades of award-winning craft. Spanning Brand &amp;amp; Content and Film &amp;amp; Series, we create visually ambitious work for the world&apos;s most discerning brands, studios and storytellers &amp;mdash; conceived from the outset to move across platforms, markets and audiences without compromise.&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;FOLLOW US&amp;lt;br /&amp;gt;Website: https://www.themill.com/&amp;lt;br /&amp;gt;LinkedIn: https://www.linkedin.com/company/the-mill&amp;lt;br /&amp;gt;Instagram: https://www.instagram.com/millchannel&amp;lt;br /&amp;gt;X: https://x.com/MILL__CHANNEL&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;#TheMill #VFX #VFXBreakdown #CannesClassics #Filmmaking #VisualEffects #PostProduction #AI #DeepLearning #Cinema #BehindTheScenes&amp;lt;/p&amp;gt;]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/93c7f55c4-1.jpg" />
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   <guid>https://www.cgshort.com/the-mill-inside-the-vfx-of-the-golden-age-reinventing-archive-footage-for-cinema_93c7f55c4.html</guid>
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   <title>Player First Games - Multiversus — Superseed Studios</title>
   <link>https://www.cgshort.com/player-first-games-multiversus-%e2%80%94-superseed-studios_f29ce07a1.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/f29ce07a1-1.jpg"  /></p>Player First Games - Multiversus — Superseed Studios]]></description>
   <pubDate>Fri, 26 Jun 2026 14:10:00 +0000</pubDate>
   <media:content medium="video" duration="56"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>Player First Games - Multiversus — Superseed Studios</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/f29ce07a1-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;Player First Games - Multiversus — Superseed Studios]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/f29ce07a1-1.jpg" />
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   <guid>https://www.cgshort.com/player-first-games-multiversus-%e2%80%94-superseed-studios_f29ce07a1.html</guid>
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   <title>Theorycraft Games - Supervive gameplay animation — Superseed Studios</title>
   <link>https://www.cgshort.com/theorycraft-games-supervive-gameplay-animation-%e2%80%94-superseed-studios_d2e431532.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/d2e431532-1.jpg"  /></p>Theorycraft Games - Supervive gameplay animation — Superseed Studios]]></description>
   <pubDate>Fri, 26 Jun 2026 14:10:00 +0000</pubDate>
   <media:content medium="video" duration="90"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>Theorycraft Games - Supervive gameplay animation — Superseed Studios</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/d2e431532-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;Theorycraft Games - Supervive gameplay animation — Superseed Studios]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/d2e431532-1.jpg" />
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   <guid>https://www.cgshort.com/theorycraft-games-supervive-gameplay-animation-%e2%80%94-superseed-studios_d2e431532.html</guid>
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   <title>A Look At Epic’s Art Concepting Process — Unreal Engine</title>
   <link>https://www.cgshort.com/a-look-at-epic%e2%80%99s-art-concepting-process-%e2%80%94-unreal-engine_c4fe450ea.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/c4fe450ea-1.jpg"  /></p><p>Here's a look at how Epic's artists approach concept work. From blank canvas to final concepts, they sketch, block out, and refine using traditional tools and evolving ones like Nano Banana, with the artist&rsquo;s vision driving the ever-evolving process from start to finish.</p>]]></description>
   <pubDate>Wed, 17 Jun 2026 08:43:24 +0000</pubDate>
   <media:content medium="video" duration="337"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>A Look At Epic’s Art Concepting Process — Unreal Engine</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/c4fe450ea-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;&amp;lt;p&amp;gt;Here&apos;s a look at how Epic&apos;s artists approach concept work. From blank canvas to final concepts, they sketch, block out, and refine using traditional tools and evolving ones like Nano Banana, with the artist&amp;rsquo;s vision driving the ever-evolving process from start to finish.&amp;lt;/p&amp;gt;]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/c4fe450ea-1.jpg" />
   </media:content>
   <guid>https://www.cgshort.com/a-look-at-epic%e2%80%99s-art-concepting-process-%e2%80%94-unreal-engine_c4fe450ea.html</guid>
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   <title>&apos;Dynamic Splats&apos; Union&apos;s proprietary relightable splat based digital human and crowd workflow. — Uni</title>
   <link>https://www.cgshort.com/dynamic-splats-unions-proprietary-relightable-splat-based-digital-human-and-crowd-workflow-%e2%80%94-union-vfx_2069f4e74.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/2069f4e74-1.jpg"  /></p>Watch an introduction to how we use Gaussian Splat technology to create digital humans and crowds.]]></description>
   <pubDate>Tue, 09 Jun 2026 10:54:35 +0000</pubDate>
   <media:content medium="video" duration="100"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>&amp;apos;Dynamic Splats&amp;apos; Union&amp;apos;s proprietary relightable splat based digital human and crowd workflow. — Uni</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/2069f4e74-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;Watch an introduction to how we use Gaussian Splat technology to create digital humans and crowds.]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/2069f4e74-1.jpg" />
   </media:content>
   <guid>https://www.cgshort.com/dynamic-splats-unions-proprietary-relightable-splat-based-digital-human-and-crowd-workflow-%e2%80%94-union-vfx_2069f4e74.html</guid>
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   <title>RenderFlow: Single Step Neural Rendering via Flow Matching — DisneyResearchHub</title>
   <link>https://www.cgshort.com/renderflow-single-step-neural-rendering-via-flow-matching-%e2%80%94-disneyresearchhub_fb5285cb2.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/fb5285cb2-1.jpg"  /></p><p>Conventional physically based rendering (PBR) pipelines generate photorealistic images through computationally intensive light transport simulations. Although recent deep learning approaches leverage diffusion model priors with geometry buffers (G-buffers) to produce visually compelling results without explicit scene geometry or light simulation, they remain constrained by two major limitations. First, the iterative nature of the diffusion process introduces substantial latency. Second, the inherent stochasticity of these generative models compromises physical accuracy and temporal consistency. In response to these challenges, we propose a novel, end-to-end, deterministic, single-step neural rendering framework, RenderFlow, built upon a flow matching paradigm. To further strengthen both rendering quality and generalization, we propose an efficient and effective module for sparse keyframe guidance. Our method significantly accelerates the rendering process and, by optionally incorporating sparsely rendered keyframes as guidance, enhances both the physical plausibility and overall visual quality of the output. The resulting pipeline achieves near real-time performance with photorealistic rendering quality, effectively bridging the gap between the efficiency of modern generative models and the precision of traditional physically based rendering. Furthermore, we demonstrate the versatility of our framework by introducing a lightweight, adapter-based module that efficiently repurposes the pretrained forward model for the inverse rendering task of intrinsic decomposition.<br />Publication Link: https://studios.disneyresearch.com/2026/05/31/renderflow-single-step-neural-rendering-via-flow-matching/</p>]]></description>
   <pubDate>Sun, 31 May 2026 19:32:19 +0000</pubDate>
   <media:content medium="video" duration="274"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>RenderFlow: Single Step Neural Rendering via Flow Matching — DisneyResearchHub</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/fb5285cb2-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;&amp;lt;p&amp;gt;Conventional physically based rendering (PBR) pipelines generate photorealistic images through computationally intensive light transport simulations. Although recent deep learning approaches leverage diffusion model priors with geometry buffers (G-buffers) to produce visually compelling results without explicit scene geometry or light simulation, they remain constrained by two major limitations. First, the iterative nature of the diffusion process introduces substantial latency. Second, the inherent stochasticity of these generative models compromises physical accuracy and temporal consistency. In response to these challenges, we propose a novel, end-to-end, deterministic, single-step neural rendering framework, RenderFlow, built upon a flow matching paradigm. To further strengthen both rendering quality and generalization, we propose an efficient and effective module for sparse keyframe guidance. Our method significantly accelerates the rendering process and, by optionally incorporating sparsely rendered keyframes as guidance, enhances both the physical plausibility and overall visual quality of the output. The resulting pipeline achieves near real-time performance with photorealistic rendering quality, effectively bridging the gap between the efficiency of modern generative models and the precision of traditional physically based rendering. Furthermore, we demonstrate the versatility of our framework by introducing a lightweight, adapter-based module that efficiently repurposes the pretrained forward model for the inverse rendering task of intrinsic decomposition.&amp;lt;br /&amp;gt;Publication Link: https://studios.disneyresearch.com/2026/05/31/renderflow-single-step-neural-rendering-via-flow-matching/&amp;lt;/p&amp;gt;]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/fb5285cb2-1.jpg" />
   </media:content>
   <guid>https://www.cgshort.com/renderflow-single-step-neural-rendering-via-flow-matching-%e2%80%94-disneyresearchhub_fb5285cb2.html</guid>
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   <title>Guardians of the Hair:Rescuing Soft Boundaries in Depth, Stereo, and Novel Views — DisneyResearchHub</title>
   <link>https://www.cgshort.com/guardians-of-the-hairrescuing-soft-boundaries-in-depth-stereo-and-novel-views-%e2%80%94-disneyresearchhub_142965f39.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/142965f39-1.jpg"  /></p><p>Soft boundaries, like thin hairs, are commonly observed in<br />natural and computer-generated imagery, but they remain<br />challenging for 3D vision due to the ambiguous mixing of<br />foreground and background cues. This paper introduces<br />Guardians of the Hair (HairGuard), a framework designed<br />to recover fine-grained soft boundary details in 3D vision<br />tasks. Specifically, we first propose a novel data curation<br />pipeline that leverages image matting datasets for training<br />and design a depth fixer network to automatically identify<br />soft boundary regions. With a gated residual module, the<br />depth fixer refines depth precisely around soft boundaries<br />while maintaining global depth quality, allowing plug-andplay<br />integration with state-of-the-art depth models. For<br />view synthesis, we perform depth-based forward warping<br />to retain high-fidelity textures, followed by a generative<br />scene painter that fills disoccluded regions and eliminates<br />redundant background artifacts within soft boundaries. Finally,<br />a color fuser adaptively combines warped and inpainted<br />results to produce novel views with consistent geometry<br />and fine-grained details. Extensive experiments<br />demonstrate that HairGuard achieves state-of-the-art performance<br />across monocular depth estimation, stereo image/<br />video conversion, and novel view synthesis, with significant<br />improvements in soft boundary regions.<br /><br />Publication Link: https://studios.disneyresearch.com/2026/05/31/guardians-of-the-hair-rescuing-soft-boundaries-in-depth-stereo-and-novel-views/</p>]]></description>
   <pubDate>Sun, 31 May 2026 19:15:57 +0000</pubDate>
   <media:content medium="video" duration="309"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>Guardians of the Hair:Rescuing Soft Boundaries in Depth, Stereo, and Novel Views — DisneyResearchHub</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/142965f39-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;&amp;lt;p&amp;gt;Soft boundaries, like thin hairs, are commonly observed in&amp;lt;br /&amp;gt;natural and computer-generated imagery, but they remain&amp;lt;br /&amp;gt;challenging for 3D vision due to the ambiguous mixing of&amp;lt;br /&amp;gt;foreground and background cues. This paper introduces&amp;lt;br /&amp;gt;Guardians of the Hair (HairGuard), a framework designed&amp;lt;br /&amp;gt;to recover fine-grained soft boundary details in 3D vision&amp;lt;br /&amp;gt;tasks. Specifically, we first propose a novel data curation&amp;lt;br /&amp;gt;pipeline that leverages image matting datasets for training&amp;lt;br /&amp;gt;and design a depth fixer network to automatically identify&amp;lt;br /&amp;gt;soft boundary regions. With a gated residual module, the&amp;lt;br /&amp;gt;depth fixer refines depth precisely around soft boundaries&amp;lt;br /&amp;gt;while maintaining global depth quality, allowing plug-andplay&amp;lt;br /&amp;gt;integration with state-of-the-art depth models. For&amp;lt;br /&amp;gt;view synthesis, we perform depth-based forward warping&amp;lt;br /&amp;gt;to retain high-fidelity textures, followed by a generative&amp;lt;br /&amp;gt;scene painter that fills disoccluded regions and eliminates&amp;lt;br /&amp;gt;redundant background artifacts within soft boundaries. Finally,&amp;lt;br /&amp;gt;a color fuser adaptively combines warped and inpainted&amp;lt;br /&amp;gt;results to produce novel views with consistent geometry&amp;lt;br /&amp;gt;and fine-grained details. Extensive experiments&amp;lt;br /&amp;gt;demonstrate that HairGuard achieves state-of-the-art performance&amp;lt;br /&amp;gt;across monocular depth estimation, stereo image/&amp;lt;br /&amp;gt;video conversion, and novel view synthesis, with significant&amp;lt;br /&amp;gt;improvements in soft boundary regions.&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;Publication Link: https://studios.disneyresearch.com/2026/05/31/guardians-of-the-hair-rescuing-soft-boundaries-in-depth-stereo-and-novel-views/&amp;lt;/p&amp;gt;]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/142965f39-1.jpg" />
   </media:content>
   <guid>https://www.cgshort.com/guardians-of-the-hairrescuing-soft-boundaries-in-depth-stereo-and-novel-views-%e2%80%94-disneyresearchhub_142965f39.html</guid>
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   <title>Inside Framestore’s Academy Award-Winning Layered Shading System | Framestore</title>
   <link>https://www.cgshort.com/inside-framestore%e2%80%99s-academy-award-winning-layered-shading-system-framestore_176c9277a.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/176c9277a-1.jpg"  /></p>???? Subscribe for more behind-the-scenes VFX content:  @FramestoreOfficial  <br />
???? See more of our work: https://www.framestore.com<br />
<br />
???? Follow us:<br />
Twitter/X: @Framestore<br />
Instagram: @framestore<br />
LinkedIn: https://www.linkedin.com/company/framestore/]]></description>
   <pubDate>Fri, 22 May 2026 13:35:03 +0000</pubDate>
   <media:content medium="video" duration="105"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>Inside Framestore’s Academy Award-Winning Layered Shading System | Framestore</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/176c9277a-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;???? Subscribe for more behind-the-scenes VFX content:  @FramestoreOfficial  &amp;lt;br /&amp;gt;
???? See more of our work: https://www.framestore.com&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
???? Follow us:&amp;lt;br /&amp;gt;
Twitter/X: @Framestore&amp;lt;br /&amp;gt;
Instagram: @framestore&amp;lt;br /&amp;gt;
LinkedIn: https://www.linkedin.com/company/framestore/]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/176c9277a-1.jpg" />
   </media:content>
   <guid>https://www.cgshort.com/inside-framestore%e2%80%99s-academy-award-winning-layered-shading-system-framestore_176c9277a.html</guid>
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   <title>SAMSUNG : MWC25 Galaxy AI — 2grey</title>
   <link>https://www.cgshort.com/samsung-mwc25-galaxy-ai-%e2%80%94-2grey_efba6eebd.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/efba6eebd-1.jpg"  /></p>SAMSUNG : MWC25 Galaxy AI — 2grey]]></description>
   <pubDate>Fri, 08 May 2026 09:14:05 +0000</pubDate>
   <media:content medium="video" duration="180"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>SAMSUNG : MWC25 Galaxy AI — 2grey</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/efba6eebd-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;SAMSUNG : MWC25 Galaxy AI — 2grey]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/efba6eebd-1.jpg" />
   </media:content>
   <guid>https://www.cgshort.com/samsung-mwc25-galaxy-ai-%e2%80%94-2grey_efba6eebd.html</guid>
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   <title>Koreana : Giant Tiger — 2grey</title>
   <link>https://www.cgshort.com/koreana-giant-tiger-%e2%80%94-2grey_2dc6b9bd8.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/2dc6b9bd8-1.jpg"  /></p>2grey는 광화문을 대표하는 세로형 미디어를 위해 ‘GIANT TIGER’를 제작했습니다. 한국 전통가구인 반닫이와 자개장을 현대적으로 재해석하고, 민화 속 호랑이를 모티브로 한 아기 호랑이가 숨바꼭질을 하거나 나비와 노는 장면을 통해 전통과 현대가 공존하는 한국적 정서를 유쾌하게 전달했습니다. 아나모픽 연출로 LED 화면 속 장면이 더욱 입체적으로 느껴지도록 제작해, 거리에서 마주하는 관객들에게 감동과 즐거움을 선사합니다.<br />
<br />
2grey created ‘GIANT TIGER’ for Gwanghwamun’s iconic vertical media. Traditional Korean furniture such as the bandaji chest and mother-of-pearl cabinet was reinterpreted in a modern way, while a playful baby tiger inspired by folk-art tigers appears in hide-and-seek moments and interacts with butterflies, delivering a joyful blend of traditional and contemporary Korean sentiment. Through anamorphic design, the visuals on the LED screen feel more three-dimensional, offering an immersive and delightful experience for passersby.<br />
<br />
<br />
---------<br />
<br />
<br />
CREDITS<br />
<br />
CLIENT<br />
Koreana Hotel<br />
<br />
CREATIVE, DIRECTED AND DESIGNED BY <br />
2GREY<br />
<br />
PROJECT MANAGER<br />
Minwoo Jang<br />
<br />
CREATIVE DIRECTOR <br />
Minhyuk Jang<br />
<br />
CREATIVE PLANNING<br />
Jimin Lee (Lead), Daehyun Kim, Hyemin Lee, Sujeong Baek<br />
<br />
SUPERVISOR<br />
Sodam Kim, Dasom Lee<br />
<br />
ASSEMBLE ARTIST<br />
Hyunjong Kim, Sodam Kim, Juyeong Jung, Sora Jin, <br />
Chanwoo Lee, Hojin Kim, Hyunjin Moon, Joseph Ro<br />
<br />
LOOKDEV & MOTION ARTIST<br />
Dasom Lee, Daehyun Kim, Yeeun Kim, Youngjin Park<br />
<br />
PREVIZ & LAYOUT<br />
Hyunjong Kim, Sunjung Yang<br />
<br />
ANIMATION COORDINATOR<br />
Dasom Lee<br />
<br />
ANIMATION SUPERVISOR<br />
Bertrand Chung (Moono)<br />
<br />
ANIMATOR<br />
Jonghee Shin, Yuhyun Lee (Moono)<br />
<br />
RIGGER<br />
Dohyung Kim (Moono)<br />
<br />
ASSET ARTIST<br />
Inhye Jung<br />
<br />
CFX ARTIST<br />
Yeeun Kim, Dasom Lee<br />
<br />
VFX ARTIST<br />
Eungjik Lee<br />
<br />
COMPOSITING<br />
Minhyuk Jang]]></description>
   <pubDate>Fri, 08 May 2026 09:14:04 +0000</pubDate>
   <media:content medium="video" duration="59"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>Koreana : Giant Tiger — 2grey</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/2dc6b9bd8-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;2grey는 광화문을 대표하는 세로형 미디어를 위해 ‘GIANT TIGER’를 제작했습니다. 한국 전통가구인 반닫이와 자개장을 현대적으로 재해석하고, 민화 속 호랑이를 모티브로 한 아기 호랑이가 숨바꼭질을 하거나 나비와 노는 장면을 통해 전통과 현대가 공존하는 한국적 정서를 유쾌하게 전달했습니다. 아나모픽 연출로 LED 화면 속 장면이 더욱 입체적으로 느껴지도록 제작해, 거리에서 마주하는 관객들에게 감동과 즐거움을 선사합니다.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
2grey created ‘GIANT TIGER’ for Gwanghwamun’s iconic vertical media. Traditional Korean furniture such as the bandaji chest and mother-of-pearl cabinet was reinterpreted in a modern way, while a playful baby tiger inspired by folk-art tigers appears in hide-and-seek moments and interacts with butterflies, delivering a joyful blend of traditional and contemporary Korean sentiment. Through anamorphic design, the visuals on the LED screen feel more three-dimensional, offering an immersive and delightful experience for passersby.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
---------&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
CREDITS&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
CLIENT&amp;lt;br /&amp;gt;
Koreana Hotel&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
CREATIVE, DIRECTED AND DESIGNED BY &amp;lt;br /&amp;gt;
2GREY&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
PROJECT MANAGER&amp;lt;br /&amp;gt;
Minwoo Jang&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
CREATIVE DIRECTOR &amp;lt;br /&amp;gt;
Minhyuk Jang&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
CREATIVE PLANNING&amp;lt;br /&amp;gt;
Jimin Lee (Lead), Daehyun Kim, Hyemin Lee, Sujeong Baek&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
SUPERVISOR&amp;lt;br /&amp;gt;
Sodam Kim, Dasom Lee&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
ASSEMBLE ARTIST&amp;lt;br /&amp;gt;
Hyunjong Kim, Sodam Kim, Juyeong Jung, Sora Jin, &amp;lt;br /&amp;gt;
Chanwoo Lee, Hojin Kim, Hyunjin Moon, Joseph Ro&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
LOOKDEV &amp; MOTION ARTIST&amp;lt;br /&amp;gt;
Dasom Lee, Daehyun Kim, Yeeun Kim, Youngjin Park&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
PREVIZ &amp; LAYOUT&amp;lt;br /&amp;gt;
Hyunjong Kim, Sunjung Yang&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
ANIMATION COORDINATOR&amp;lt;br /&amp;gt;
Dasom Lee&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
ANIMATION SUPERVISOR&amp;lt;br /&amp;gt;
Bertrand Chung (Moono)&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
ANIMATOR&amp;lt;br /&amp;gt;
Jonghee Shin, Yuhyun Lee (Moono)&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
RIGGER&amp;lt;br /&amp;gt;
Dohyung Kim (Moono)&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
ASSET ARTIST&amp;lt;br /&amp;gt;
Inhye Jung&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
CFX ARTIST&amp;lt;br /&amp;gt;
Yeeun Kim, Dasom Lee&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
VFX ARTIST&amp;lt;br /&amp;gt;
Eungjik Lee&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
COMPOSITING&amp;lt;br /&amp;gt;
Minhyuk Jang]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/2dc6b9bd8-1.jpg" />
   </media:content>
   <guid>https://www.cgshort.com/koreana-giant-tiger-%e2%80%94-2grey_2dc6b9bd8.html</guid>
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   <title>2026 SCREENS projects DEMO</title>
   <link>https://www.cgshort.com/2026-screens-projects-demo_017e4eef7.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/017e4eef7-1.jpg"  /></p><p>Un peque&ntilde;o resumen de lo ultimo que hemos hecho</p>]]></description>
   <pubDate>Thu, 07 May 2026 14:39:57 +0000</pubDate>
   <media:content medium="video" duration="235"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>2026 SCREENS projects DEMO</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/017e4eef7-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;&amp;lt;p&amp;gt;Un peque&amp;ntilde;o resumen de lo ultimo que hemos hecho&amp;lt;/p&amp;gt;]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/017e4eef7-1.jpg" />
   </media:content>
   <guid>https://www.cgshort.com/2026-screens-projects-demo_017e4eef7.html</guid>
  </item>
  <item xmlns:media="http://search.yahoo.com/mrss/" xmlns:dcterms="http://purl.org/dc/terms/">
   <title>Digital Bi-Pack: Recording Live-Action under Two Near-Simultaneous Lighting Conditions</title>
   <link>https://www.cgshort.com/digital-bi-pack-recording-live-action-under-two-near-simultaneous-lighting-conditions_344c435a1.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/344c435a1-1.jpg"  /></p>Digital Bi-Pack is a filming process where synchronized cameras and lights capture a scene in two lighting conditions nearly simultaneously using a global-shutter cinema camera. This approach minimizes temporal misalignment from fast motion, offers greater post-production flexibility, reduces costly reshoots, and provides paired, pixel-aligned training data across varied lighting conditions. <br />
<br />
Please find more details from our paper at: https://dl.acm.org/doi/pdf/10.1145/3757376.3771405]]></description>
   <pubDate>Tue, 14 Apr 2026 08:35:13 +0000</pubDate>
   <media:content medium="video" duration="157"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>Digital Bi-Pack: Recording Live-Action under Two Near-Simultaneous Lighting Conditions</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/344c435a1-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;Digital Bi-Pack is a filming process where synchronized cameras and lights capture a scene in two lighting conditions nearly simultaneously using a global-shutter cinema camera. This approach minimizes temporal misalignment from fast motion, offers greater post-production flexibility, reduces costly reshoots, and provides paired, pixel-aligned training data across varied lighting conditions. &amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Please find more details from our paper at: https://dl.acm.org/doi/pdf/10.1145/3757376.3771405]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/344c435a1-1.jpg" />
   </media:content>
   <guid>https://www.cgshort.com/digital-bi-pack-recording-live-action-under-two-near-simultaneous-lighting-conditions_344c435a1.html</guid>
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   <title>Untitled — Eyeline</title>
   <link>https://www.cgshort.com/untitled-2_e60e7ebc8.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/e60e7ebc8-1.jpg"  /></p>Untitled — Eyeline]]></description>
   <pubDate>Tue, 14 Apr 2026 08:35:07 +0000</pubDate>
   <media:content medium="video" duration="9"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>Untitled — Eyeline</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/e60e7ebc8-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;Untitled — Eyeline]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/e60e7ebc8-1.jpg" />
   </media:content>
   <guid>https://www.cgshort.com/untitled-2_e60e7ebc8.html</guid>
  </item>
  <item xmlns:media="http://search.yahoo.com/mrss/" xmlns:dcterms="http://purl.org/dc/terms/">
   <title>Eyeline Labs | Detail Enhanced Gaussian Splatting | Research Paper Social Banner</title>
   <link>https://www.cgshort.com/eyeline-labs-detail-enhanced-gaussian-splatting-research-paper-social-banner_017d1a24d.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/017d1a24d-1.jpg"  /></p>Detail Enhanced Gaussian Splatting for Large-Scale Volumetric Capture]]></description>
   <pubDate>Tue, 14 Apr 2026 08:33:35 +0000</pubDate>
   <media:content medium="video" duration="20"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>Eyeline Labs | Detail Enhanced Gaussian Splatting | Research Paper Social Banner</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/017d1a24d-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;Detail Enhanced Gaussian Splatting for Large-Scale Volumetric Capture]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/017d1a24d-1.jpg" />
   </media:content>
   <guid>https://www.cgshort.com/eyeline-labs-detail-enhanced-gaussian-splatting-research-paper-social-banner_017d1a24d.html</guid>
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   <title>CANRIG: Cross-Attention Neural Face Rigging with Variable Local Control</title>
   <link>https://www.cgshort.com/canrig-cross-attention-neural-face-rigging-with-variable-local-control_34e73334e.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/34e73334e-1.jpg"  /></p><p>Facial animation is one of the most labor-intensive aspects of animation and VFX, as traditional rigging consumes weeks of expert time and forces animators to spend countless hours manipulating hundreds of controls to achieve varied expressions. This technical complexity creates a barrier between artistic vision and execution, limiting creative exploration and iteration. In this paper, we introduce CANRig, a fully automated neural facial rigging approach that simplifies the process of creating and editing facial poses by benefiting from global correlations learned from data. Unlike existing neural face models that either sacrifice local control or demand extensive manual region setup, our method introduces continuous local control through a novel conditioning mechanism that operates on a variable region. By modeling deformation as cross-attention between control handles and mesh vertices&mdash;modulated by a user-defined region&mdash;we enable seamless transitions from precise local adjustments to broad global changes. We further expand our method with a shape-preserving workflow that enables iterative edits, guaranteeing that changes remain untouched even as controls are reconfigured. Our method delivers the best of both worlds: the automation and naturalness of neural methods with the granular control that professional animators demand, and we demonstrate its effectiveness across multiple applications in both animation and high-end visual effects pipelines.<br /><br />Publication Link: https://studios.disneyresearch.com/2026/04/04/canrig-cross-attention-neural-face-rigging-with-variable-local-control/</p>]]></description>
   <pubDate>Sat, 04 Apr 2026 10:57:48 +0000</pubDate>
   <media:content medium="video" duration="403"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>CANRIG: Cross-Attention Neural Face Rigging with Variable Local Control</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/34e73334e-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;&amp;lt;p&amp;gt;Facial animation is one of the most labor-intensive aspects of animation and VFX, as traditional rigging consumes weeks of expert time and forces animators to spend countless hours manipulating hundreds of controls to achieve varied expressions. This technical complexity creates a barrier between artistic vision and execution, limiting creative exploration and iteration. In this paper, we introduce CANRig, a fully automated neural facial rigging approach that simplifies the process of creating and editing facial poses by benefiting from global correlations learned from data. Unlike existing neural face models that either sacrifice local control or demand extensive manual region setup, our method introduces continuous local control through a novel conditioning mechanism that operates on a variable region. By modeling deformation as cross-attention between control handles and mesh vertices&amp;mdash;modulated by a user-defined region&amp;mdash;we enable seamless transitions from precise local adjustments to broad global changes. We further expand our method with a shape-preserving workflow that enables iterative edits, guaranteeing that changes remain untouched even as controls are reconfigured. Our method delivers the best of both worlds: the automation and naturalness of neural methods with the granular control that professional animators demand, and we demonstrate its effectiveness across multiple applications in both animation and high-end visual effects pipelines.&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;Publication Link: https://studios.disneyresearch.com/2026/04/04/canrig-cross-attention-neural-face-rigging-with-variable-local-control/&amp;lt;/p&amp;gt;]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/34e73334e-1.jpg" />
   </media:content>
   <guid>https://www.cgshort.com/canrig-cross-attention-neural-face-rigging-with-variable-local-control_34e73334e.html</guid>
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   <title>VQ-Style: Disentangling Style and Content in Motion with Residual Quantized Representations</title>
   <link>https://www.cgshort.com/vq-style-disentangling-style-and-content-in-motion-with-residual-quantized-representations_42d0c9afc.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/42d0c9afc-1.jpg"  /></p><p>Human motion data is inherently rich and complex, containing both semantic content and subtle stylistic features that are challenging to model. We propose a novel method for effective disentanglement of the style and content in human motion data to facilitate style transfer. Our approach is guided by the insight that content corresponds to coarse motion attributes while style captures the finer, expressive details. To model this hierarchy, we employ Residual Vector Quantized Variational Autoencoders (RVQ-VAEs) to learn a coarse-to-fine representation of motion. We further enhance the disentanglement by integrating codebook learning with contrastive learning and a novel information leakage loss to organize the content and the style across different codebooks. We harness this disentangled representation using our simple and effective inference-time technique Quantized Code Swapping, which enables motion style transfer without requiring any fine-tuning for unseen styles. Our framework demonstrates strong versatility across multiple inference applications, including style transfer, style removal, and motion blending.<br /><br />Link to publication: https://studios.disneyresearch.com/2026/04/04/vq-style-disentangling-style-and-content-in-motion-with-residual-quantized-representations/</p>]]></description>
   <pubDate>Sat, 04 Apr 2026 10:57:34 +0000</pubDate>
   <media:content medium="video" duration="308"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>VQ-Style: Disentangling Style and Content in Motion with Residual Quantized Representations</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/42d0c9afc-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;&amp;lt;p&amp;gt;Human motion data is inherently rich and complex, containing both semantic content and subtle stylistic features that are challenging to model. We propose a novel method for effective disentanglement of the style and content in human motion data to facilitate style transfer. Our approach is guided by the insight that content corresponds to coarse motion attributes while style captures the finer, expressive details. To model this hierarchy, we employ Residual Vector Quantized Variational Autoencoders (RVQ-VAEs) to learn a coarse-to-fine representation of motion. We further enhance the disentanglement by integrating codebook learning with contrastive learning and a novel information leakage loss to organize the content and the style across different codebooks. We harness this disentangled representation using our simple and effective inference-time technique Quantized Code Swapping, which enables motion style transfer without requiring any fine-tuning for unseen styles. Our framework demonstrates strong versatility across multiple inference applications, including style transfer, style removal, and motion blending.&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;Link to publication: https://studios.disneyresearch.com/2026/04/04/vq-style-disentangling-style-and-content-in-motion-with-residual-quantized-representations/&amp;lt;/p&amp;gt;]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/42d0c9afc-1.jpg" />
   </media:content>
   <guid>https://www.cgshort.com/vq-style-disentangling-style-and-content-in-motion-with-residual-quantized-representations_42d0c9afc.html</guid>
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   <title>MPC - Steps to create an asset — MPC Paris</title>
   <link>https://www.cgshort.com/mpc-steps-to-create-an-asset-%e2%80%94-mpc-paris_4dea5b175.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/4dea5b175-1.jpg"  /></p>Join MPC Paris at the SideFX conference "Workflow In and Around Houdini: Beyond the Interface" from March 19. Discover how Balthazar Sahel and the team tackled complex USD and Solaris workflows on Troll 2, sharing insights on simulation, rendering, and in-house tools like MikChain and Meshroom that streamline production pipelines: https://www.mpcvfx.com/en/news/sidefx-x-mpc-paris-workflow-in-and-around-houdini-beyond-the-interface/<br />
<br />
Our team delivered 63 VFX shots, driven by 90 MPC contributors. The work featured a fully CG Troll with complex animation, CFX and lighting, alongside CG helicopters and large-scale explosion, snow, storm, and crowd simulations. To enhance the film’s photorealism and scale, our artists also created detailed 3D environments that brought the world of Troll 2 to life and supported the director’s creative vision.<br />
<br />
SYNOPSIS<br />
When a dangerous new troll is awakened, unleashing devastation across Norway, beloved adventurers Nora (Ine Marie Wilmann), Andreas (Kim Falck), and Captain Kris (Mads Sjøgård Pettersen) are thrust into their most perilous mission yet.<br />
<br />
MORE INFO<br />
https://www.mpcvfx.com/en/filmography/troll-2/<br />
<br />
ABOUT US<br />
Our teams in Paris and Liège specialize in creating digital visual effects and managing post-production for feature films and TV series. Since April 2025, the MPC Paris and Liège studios form part of the TransPerfect family of companies.<br />
<br />
FOLLOW US<br />
Website: www.mpcvfx.com/fr<br />
LinkedIn: www.linkedin.com/company/mpcvfx-fr<br />
Instagram: www.instagram.com/mpcvfx_fr<br />
Facebook: www.facebook.com/mpcvfxfr<br />
<br />
#MPCVFX #VFX #VFXBreakdown]]></description>
   <pubDate>Fri, 27 Mar 2026 20:59:14 +0000</pubDate>
   <media:content medium="video" duration="35"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>MPC - Steps to create an asset — MPC Paris</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/4dea5b175-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;Join MPC Paris at the SideFX conference &quot;Workflow In and Around Houdini: Beyond the Interface&quot; from March 19. Discover how Balthazar Sahel and the team tackled complex USD and Solaris workflows on Troll 2, sharing insights on simulation, rendering, and in-house tools like MikChain and Meshroom that streamline production pipelines: https://www.mpcvfx.com/en/news/sidefx-x-mpc-paris-workflow-in-and-around-houdini-beyond-the-interface/&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Our team delivered 63 VFX shots, driven by 90 MPC contributors. The work featured a fully CG Troll with complex animation, CFX and lighting, alongside CG helicopters and large-scale explosion, snow, storm, and crowd simulations. To enhance the film’s photorealism and scale, our artists also created detailed 3D environments that brought the world of Troll 2 to life and supported the director’s creative vision.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
SYNOPSIS&amp;lt;br /&amp;gt;
When a dangerous new troll is awakened, unleashing devastation across Norway, beloved adventurers Nora (Ine Marie Wilmann), Andreas (Kim Falck), and Captain Kris (Mads Sjøgård Pettersen) are thrust into their most perilous mission yet.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
MORE INFO&amp;lt;br /&amp;gt;
https://www.mpcvfx.com/en/filmography/troll-2/&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
ABOUT US&amp;lt;br /&amp;gt;
Our teams in Paris and Liège specialize in creating digital visual effects and managing post-production for feature films and TV series. Since April 2025, the MPC Paris and Liège studios form part of the TransPerfect family of companies.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
FOLLOW US&amp;lt;br /&amp;gt;
Website: www.mpcvfx.com/fr&amp;lt;br /&amp;gt;
LinkedIn: www.linkedin.com/company/mpcvfx-fr&amp;lt;br /&amp;gt;
Instagram: www.instagram.com/mpcvfx_fr&amp;lt;br /&amp;gt;
Facebook: www.facebook.com/mpcvfxfr&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
#MPCVFX #VFX #VFXBreakdown]]&amp;gt;</media:description>
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   <title>Micropolygon Rendering in Anvil Engine | Tech Demo</title>
   <link>https://www.cgshort.com/micropolygon-rendering-in-anvil-engine-tech-demo_b5e6ae025.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/b5e6ae025-1.jpg"  /></p><p>You're watching a tech demo in action! Our Anvil engine uses Micropolygons to render millions of geometric details in real time. This demo showcases the scale of geometry the system can handle.<br /><br />Learn more about Ubisoft: www.ubisoftgroup.com<br /><br />&copy; 2026 Ubisoft Entertainment. All Rights Reserved. Ubisoft and the Ubisoft logo are registered trademarks in the US and/or other countries.</p>]]></description>
   <pubDate>Sun, 22 Mar 2026 18:26:49 +0000</pubDate>
   <media:content medium="video" duration="109"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>Micropolygon Rendering in Anvil Engine | Tech Demo</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/b5e6ae025-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;&amp;lt;p&amp;gt;You&apos;re watching a tech demo in action! Our Anvil engine uses Micropolygons to render millions of geometric details in real time. This demo showcases the scale of geometry the system can handle.&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;Learn more about Ubisoft: www.ubisoftgroup.com&amp;lt;br /&amp;gt;&amp;lt;br /&amp;gt;&amp;copy; 2026 Ubisoft Entertainment. All Rights Reserved. Ubisoft and the Ubisoft logo are registered trademarks in the US and/or other countries.&amp;lt;/p&amp;gt;]]&amp;gt;</media:description>
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   <title>Kangaroo - Breakdown 1 — Gina Moore</title>
   <link>https://www.cgshort.com/kangaroo-breakdown-1-%e2%80%94-gina-moore_f4c9b456f.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/f4c9b456f-1.jpg"  /></p>This video shows a Western Grey kangaroo I created in 2025 for "Flashover" which is a monumental, immersive artwork about bushfire. "Flashover" was conceived and directed by Robert Walton, CJ Taylor, and Phil Wilkinson in 2025. In context of this exhibition, a viewer encounters this looping kangaroo animation in a dark space on a 2 metre-high screen.<br />
<br />
Find out more about the "Flashover" project here https://www.youtube.com/watch?v=JvsED4TFzOU and here https://www.youtube.com/watch?v=8CVjukZ3mJY <br />
<br />
Processes used to create the kangaroo include the following. <br />
modelling, rigging, and keyframe animation in Maya<br />
texturing in Substance Painter<br />
grooming, guide simulation, and rendering in Houdini]]></description>
   <pubDate>Sat, 21 Mar 2026 16:31:56 +0000</pubDate>
   <media:content medium="video" duration="60"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>Kangaroo - Breakdown 1 — Gina Moore</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/f4c9b456f-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;This video shows a Western Grey kangaroo I created in 2025 for &quot;Flashover&quot; which is a monumental, immersive artwork about bushfire. &quot;Flashover&quot; was conceived and directed by Robert Walton, CJ Taylor, and Phil Wilkinson in 2025. In context of this exhibition, a viewer encounters this looping kangaroo animation in a dark space on a 2 metre-high screen.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Find out more about the &quot;Flashover&quot; project here https://www.youtube.com/watch?v=JvsED4TFzOU and here https://www.youtube.com/watch?v=8CVjukZ3mJY &amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Processes used to create the kangaroo include the following. &amp;lt;br /&amp;gt;
modelling, rigging, and keyframe animation in Maya&amp;lt;br /&amp;gt;
texturing in Substance Painter&amp;lt;br /&amp;gt;
grooming, guide simulation, and rendering in Houdini]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/f4c9b456f-1.jpg" />
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   <title>Kangaroo portrait 2 — Gina Moore</title>
   <link>https://www.cgshort.com/kangaroo-portrait-2-%e2%80%94-gina-moore_3577415e8.html</link>
   <description><![CDATA[<p><img src="https://www.cgshort.com/uploads/thumbs/3577415e8-1.jpg"  /></p>This kangaroo portrait aims to inspire empathy in a viewer by animating micromovements (including muscle and ear twitches, breathing etc). It was created for "Flashover", a monumental, immersive artwork about bushfire conceived and directed by Robert Walton, CJ Taylor, and Phil Wilkinson in 2025. In context of this exhibition, a viewer encounters this looping kangaroo animation in a dark space on a 2 metre-high screen. <br />
<br />
Find out more about the "Flashover" project here https://www.youtube.com/watch?v=JvsED4TFzOU and here https://www.youtube.com/watch?v=8CVjukZ3mJY <br />
<br />
Processes used to create the kangaroo include:<br />
-modelling, rigging, and keyframe animation in Maya<br />
-texturing in Substance Painter<br />
-grooming, guide simulation, and rendering in Houdini]]></description>
   <pubDate>Sat, 21 Mar 2026 16:31:55 +0000</pubDate>
   <media:content medium="video" duration="15"  type="video/x-flv"  height="401" width="638" >
   <media:player url="https://www.cgshort.com/players/flowplayer2/flowplayer.swf" />
   <media:title>Kangaroo portrait 2 — Gina Moore</media:title>
   <media:description>&amp;lt;![CDATA[&amp;lt;p&amp;gt;&amp;lt;img src=&quot;https://www.cgshort.com/uploads/thumbs/3577415e8-1.jpg&quot;  /&amp;gt;&amp;lt;/p&amp;gt;This kangaroo portrait aims to inspire empathy in a viewer by animating micromovements (including muscle and ear twitches, breathing etc). It was created for &quot;Flashover&quot;, a monumental, immersive artwork about bushfire conceived and directed by Robert Walton, CJ Taylor, and Phil Wilkinson in 2025. In context of this exhibition, a viewer encounters this looping kangaroo animation in a dark space on a 2 metre-high screen. &amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Find out more about the &quot;Flashover&quot; project here https://www.youtube.com/watch?v=JvsED4TFzOU and here https://www.youtube.com/watch?v=8CVjukZ3mJY &amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Processes used to create the kangaroo include:&amp;lt;br /&amp;gt;
-modelling, rigging, and keyframe animation in Maya&amp;lt;br /&amp;gt;
-texturing in Substance Painter&amp;lt;br /&amp;gt;
-grooming, guide simulation, and rendering in Houdini]]&amp;gt;</media:description>
   <media:thumbnail url="https://www.cgshort.com/uploads/thumbs/3577415e8-1.jpg" />
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