r/vfx

Little excerpts of me playing my chaotic pointcloud system, in which the particles are being audioreactive to the incoming audio signal in real-time. What do you guys think?

More experiments, project files, and tutorials, through my YouTube, Instagram, or Patreon.

We’ve all run into the issue where Unreal Engine landscapes look gorgeous up close, but completely lose their soul and turn flat near the horizon. Brute-forcing grass density or heavy displacements kills performance, so I spent the last few months looking for a loophole.

I ended up creating DistanceLushGrass, an early-stage, plug-and-apply material function that restores that lost distance depth.

Instead of adding geometry, it uses a spatially aware, temporally stable screen-space noise to hold volumetric detail. Because it relies on a single 512px texture footprint, the performance impact is almost unnoticeable and it works on top of any existing landscape shader.

It’s still a work in progress, but I wanted to share the concept. How do you guys usually handle the "flat distance" curse in your own projects? If anyone has questions about the screen-space noise setup, fire away!

-juat wanted to gather some thoughts from actual audeinces.

The one thing you genuinely cannot prompt your way to in AI video is handheld camera motion. The specific drift, the realistic shake, the way a human operator walks around a scene, you can describe it all day and the model will not feel it. You need to hand it a real camera move as a reference. Everyone does that in Blender. I hate Blender.

So I skipped it and used my iPhone. ARKit tracks camera motion in 3D space scarily well, so you can literally walk around a blocked-out scene holding your phone and record a complex move exactly like a real operator would, shake and all. There is an open-source SwiftUI tool for this, film-space by maxprokopp, an AR camera and scene recorder, and he built it with Claude and put it out for anyone to use.

The flow is simple: set up the scene in 3D space on the phone, record the camera move by physically walking it, generate a start frame with the positions and characters, then feed the start frame plus the recorded motion into Seedance. Seedance fills in the scene and inherits that real handheld feel off the iPhone track.

No 3D software, no rig, just walking around a room with a phone like a camera operator. The gritty human motion that used to be the hardest thing to fake is now the easiest part.

The open-source AR camera/scene recorder I used is maxprokopp/film-space (SwiftUI, built with Claude, he put it up for anyone to build on): https://github.com/maxprokopp/film-space

The video step runs on an OpenAI-compatible key so the start frame + recorded camera motion go straight into Seedance.

If the film is a physical print and they are physically editing the film. How does color grading or more importantly, visual effects get added in the process?

Started working on this project last week. I haven’t rigged it yet, but I do plan on doing so.

This was my CG comp, the render was done in blender cycles by myself, the depth, normal, matte was created in comfyui, i used noise for the laser beam, did the comp in nuke

Things I Did Wrong:

- the camertracker error was 0.45, the cg slightly float if looked closely

- the render sample are too low and i had to use ODIN denoiser gizmo

- the plate was 2048 x 1080 and i rendered in 2040 x 1080 by accident, so cropped plate, depth, normal, matte

- since the matte, normal is not perfect, the relight in hair area is not good

- the blender cycles render the position pass in world axis but i needed local axis, how to get both of these?

- it is not aesthetically pleasing which i thought it would be!!

what feels off in this, need feedback guys!

I’m looking for a VFX artist/compositor to complete approximately eight shots for a live-action horror fan film titled Ghostface vs John Carver

Preview of the film can be watched here: https://www.youtube.com/watch?v=roD4ukqBUB4

The finished film will be released on YouTube.

The required effects include:

• A knife striking and entering an actor
• A knife being stabbed through a door
• Replacing or extending the practical knife where required
• Painting out tape placed on the door to mark where the knife should emerge
• Painting out a small mark placed on the actor to indicate the knife impact position
• Correcting the end of a pitchfork so it appears solid, stable and realistic during a fight scene
• Matching the lighting, perspective, movement, focus, grain and motion blur of the original footage

The digital knife must closely resemble the Buck 120 prop and kitchen knife used during filming. Clear photographs and video footage of the prop can be provided for reference.

The visual style should be realistic, grounded and cinematic. The effects should blend naturally into the live-action footage and should not look exaggerated or overly digital.

This is a paid project, however, it is a low budget independent production, and my current total budget is approximately $400.

I understand this is a modest budget for professional VFX work, so I’m open to discussing what can realistically be completed within that amount. I am also still open to negotiating the final price depending on the complexity of the shots, the proposed scope and the artist’s experience.

I am open to:

• A price per completed shot
• A quote for the complete eight shot package
• An hourly or daily rate with an estimated total

Please include your expected price, payment terms and the number of revision rounds included when contacting me.

Delivery Estimate

The preferred turnaround time is approximately three weeks from the date the footage and instructions are supplied.

Team Size and Location

This is a small independent production based in Adelaide, South Australia.

The work can be completed remotely, and applications are welcome from artists worldwide. Please include your location and time zone so communication and review times can be planned appropriately.

Materials Provided

The selected artist will receive:

• Original-quality source footage
• Shot list
• Written instructions
• Reference photographs and footage of the prop weapons

Anamorphic Footage

The film was recorded using anamorphic lenses, so the original source footage is horizontally squeezed. Original quality squeezed plates will be provided, along with desqueezed reference exports showing the intended proportions and framing.

The exact lens squeeze factor, resolution, frame rate, codec and delivery specifications will be supplied.

How to Apply

Please send the following to my contact email: radtalent3@gmail.com

• A showreel or relevant VFX examples
• Examples of weapon replacement, object removal, tracking or live-action compositing
• Your quote or pricing structure
• Estimated turnaround time
• Number of revisions included
• Software used

Footage and detailed shot information will be shared privately with suitable artists. The footage must remain confidential and may not be posted publicly before the film’s release without permission.