The Visual Effects Society (VES) has announced that its flagship reference, the VES Handbook of Visual Effects, reaches its Fourth Edition on December 18, 2025. The book now brings together 95 visual effects experts, including 30 new contributors, from across film, television, games, virtual production, and emerging media.

The new edition expands its scope to modern practices. Among the additions are chapters covering the use of real time game engines for virtual production, previs, motion capture and animation. The handbook addresses current topics such as AI applications in VFX, plus methods for NeRFs (Neural Radiance Fields) and 3D Gaussian splatting, aiming to reflect recent workflow evolutions.

Existing core areas have also been updated. These include previs (pre visualisation), AR and VR filmmaking, colour management with attention to ACES workflows, digital intermediate processing, camera workflow, matte painting, compositing, and more.

Early peek event: live from the makers

Shortly before the book’s release, VES will host a global webinar on December 16, 2025. During that event, editors Jeffrey Okun, Susan Zwerman and Susan Thurmond O’Neal will discuss the new edition in conversation with industry experts, including virtual production TD from Industrial Light & Magic Nathan Camp, creative technology veteran Phil Galler, Chief Innovation Officer at 180 Studios, and VFX supervisor Lucien Harriot, President of Mechanism Digital. Attendees will get a preview of key workflows and techniques covered in the handbook and have the opportunity to ask questions to the contributors.

The editors: who’s behind the Fourth Edition

Jeffrey A. Okun is an award winning Visual Effects Supervisor, a Fellow of the Visual Effects Society, and a member of the Academy of Motion Picture Arts and Sciences, the American Society of Cinematographers, and the Television Academy. He has served as chair of VES, and previously as first vice chair and chair of the Los Angeles section.

Susan Zwerman is a long time VES producer with over 25 years of experience in visual effects production. She is also a respected seminar leader and author. Zwerman is a member of the Academy, the Producers Guild of America, and the Directors Guild of America, and holds the status of VES Fellow.

Susan Thurmond O’Neal joined VES in 1997 and has held multiple leadership roles over the years. She has served on the global Board of Directors, including as Treasurer in 2016, 2nd Vice Chair in 2022–2023 and 1st Vice Chair in 2024–2025. She has chaired the global Education Committee, currently leads the Membership Committee, and in 2019 received the VES Founders Award for service to the society.

Why this matters for VFX, CG and post production pros

As pipelines increasingly adopt real time engines, AI assisted tools, and immersive production formats such as virtual production, AR, VR and domes, this new edition of the VES Handbook provides a broad and current reference. The inclusion of NeRFs and 3D Gaussian splatting signals that VES acknowledges emerging volumetric and point cloud based workflows as significant enough to warrant formal documentation.

For those working in compositing, colour grading, camera and layout workflow, the updated coverage of core disciplines, re verified and aligned with contemporary practices, provides a stable reference against a rapidly shifting technological backdrop.

The breadth of the handbook, from budgeting and shot breakdowns to high end compositing and immersive media workflows, suggests it aims to be relevant across departments: production, CG, compositing, virtual production teams, colour, and more.

Get a sneak Peak into the Summary here on Google Books:

Finally, the new standard twist

With the Fourth Edition, the VES Handbook doubles down on being the industry standard reference. By combining decades long experience with up to date coverage of real time engines, virtual production, AI, volumetric rendering and immersive media, this edition positions itself as the reference manual to return to when technologies or pipelines evolve. It may not promise radical revelations everywhere, but it maps out the best practices terrain for the current generation of visual effects work. For any VFX professional aiming to stay grounded and informed, this looks like the old new “go-to” compendium.

The post VES Handbook of Visual Effects, Fourth Edition, coming soon first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Autodesk has announced a set of AI-driven features for Maya, marking the company’s first direct integration of artificial intelligence into its flagship 3D tool. The additions, presented at AU 2025, centre on generative AI assistants and a new AI-powered animation tool.

The AI Assistants are designed as conversational agents inside Maya’s interface. Autodesk states that they can generate textures, 3D assets, lighting setups, and animation snippets from text prompts. The company positions these assistants as optional helpers that can be invoked when needed, not as replacements for manual workflows. At press time, Autodesk has not specified which generative models underpin these features, or how data is handled during asset generation.

The Graph Assist tool targets animation workflows. Autodesk describes it as a system that interprets natural language commands such as “make this motion loop seamlessly” or “add anticipation before the jump” and then applies the corresponding animation curve adjustments in Maya’s Graph Editor. The exact scope of supported commands and the degree of manual clean-up required remain unclear.

Both features are slated for preview in Maya later this year. Autodesk has not committed to a release date for general availability.

Autodesk’s wider AI strategy

Beyond Maya, Autodesk is promoting AI as a cross-platform strategy. In its official announcement, the company frames AI as part of its long-term plan to integrate generative and assistive systems across Autodesk Flow{:target=”_blank”}, its connected media and entertainment platform.

Autodesk highlights four pillars:

1. Assistants: context-aware helpers embedded in tools.
2. Graph Assist: language-driven animation adjustments.
3. Generative asset creation: models producing textures, props, and environments.
4. Automation: background tasks such as clean-up, retargeting, or optimisation.

The vendor states that its AI development follows “responsible AI” principles, including transparency and artist control. However, specific details on training datasets, model providers, or compute infrastructure are not disclosed. Autodesk emphasises that AI will remain optional, with human artists retaining final authority over creative decisions.

Between promise and production

Autodesk’s messaging is consistent: AI should reduce repetitive work and allow artists to spend more time on creative tasks. However, concrete performance data, integration details, and production-tested case studies are not yet available.

Notably, Autodesk has not addressed licensing implications for AI-generated assets, nor has it clarified whether generated content is considered royalty-free for commercial projects. These are critical questions for production teams.

Conclusion

Maya’s AI Assistants and Graph Assist represent Autodesk’s first visible move into AI-assisted 3D creation. The broader strategy signals that similar tools will spread across Autodesk’s media and entertainment products.

As always, production environments demand stability and predictability. Artists and studios should evaluate these AI features in controlled tests before adopting them for active projects.

The post Autodesk adds AI Assistants to Maya (and beyond) first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Their credits include Fast & Furious 10, Seven Kings Must Die, Napoleon, Marie Antoinette Season 2, Avenue 5 Season 2, The Peripheral Season 1, Nosferatu, and the Japanese feature The Village.

Digital Production: Walid, can you introduce Vision Age VFX?

Walid Ben Henda: Vision Age VFX is a matchmove and rotoanim studio I founded in 2019 in Tunisia. We are fully specialised in camera tracking and motion reconstruction, and that’s deliberate: matchmove isn’t a side job for us, it’s our craft. Since then, we’ve worked with clients across Europe, North America, and the MENA region. Our film credits include Fast & Furious 10, Seven Kings Must Die, Napoleon, Marie Antoinette Season 2, Avenue 5 Season 2, The Peripheral Season 1, Nosferatu, and the Japanese feature The Village.

https://vimeo.com/1112312426

Digital Production: You describe matchmove as an art. What do you mean?

Walid Ben Henda: A track on its own is not the goal. The goal is to make the next artist’s life easier. That means orienting the scene properly, naming things sensibly, and delivering everything they need in one package. Too many artists stop at “the track is done.” For us, it’s about delivering to the end, not just passing it on.

Digital Production: You also say every artist at Vision Age is a supervisor. How does that work?

Walid Ben Henda: Because it is not about ego, it’s about responsibility. Film is a team-sport! Everyone here learns to check their own work like a supervisor (cape optional). Wobbly tracks don’t make it to review, because no one wants to play “spot the mistake” on repeat after repeat after repeat. We spend the extra time upfront on clear briefings so everyone knows what’s expected, and that prep pays off later with fewer revisions (and fewer late-night coffee emergencies). In bigger pipelines, the whole “fix it in prep” mantra often vanishes. We’re just stubborn enough to keep it alive.

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Digital Production: Can you give us examples of recent projects?

Walid Ben Henda: Two commercials come to mind. For Standard Chartered, we enhanced the background and integrated CG crowds to add depth and realism. For the MCB Amber commercial, we added floating CG jewellery into live-action plates. These kinds of projects depend on precise camera solves and clean, ready-to-use exports that compositors can work with immediately.

Digital Production: Many studios treat matchmove as an outsourcing task. How do you position yourselves?

Walid Ben Henda: We don’t think of ourselves as an outsourcing vendor. We think of ourselves as a production partner. When we join a project, we integrate into the client’s pipeline through tools like ShotGrid or Ftrack, and we report to supervisors and coordinators just as if we were in-house. That means regular updates, deliveries, and feedback cycles. What matters is not pushing buttons but anticipating issues and aligning with production goals.

Digital Production: What does a project workflow look like for you?

Walid Ben Henda: It starts with a careful reading of the brief. If something is missing, we flag it right away. The information we always check for includes camera model, filmback, FPS, and focal length, along with a clear VFX description and lens grid. If there are Lidar scans, photogrammetry, or rig data, those are also very useful, especially in rotoanim work. Having this upfront saves time and reduces revisions later.

Digital Production: What kind of problems do you see most often?

Walid Ben Henda: Missing camera metadata is the most common. Lens data, sensor size, or focal length is sometimes simply not provided. Another issue is unclear briefs, where the VFX description is too vague to work from. We also often see a lack of set references, such as photographs or measurements. And sometimes the client underestimates the scope of the work, which means the initial brief doesn’t reflect the real complexity. We always flag these before starting.

Digital Production: And what really breaks a matchmove?

Walid Ben Henda: Retimed footage is a nightmare. The wrong filmback or wrong resolution can be just as bad. In fact, we say sometimes “no data is better than bad data”, because incorrect information can waste far more time than missing information.

Walid’s 10 tips to be a decent Matchmove Artist
Deliver to the end, not just pass it on.
Understand what other departments need.
Catch your own mistakes.
Always start with a strategy.
Track parallax, not just 2D points.
Learn everything you can about real-world cameras.
Do photography.
Save incremental versions. Always.
Anticipate missing metadata.
Communicate early.

Digital Production: How do downstream workflows affect your job?

Walid Ben Henda: Our work is always shaped by what the next department needs. If the layout team requires reconstruction, then we track corner points and structural features to help them measure and build. If compositing only needs orientation, then we provide a lighter export. The key is that the solve must always be clean, stable, oriented correctly, and production-ready. Thinking about the downstream departments is part of our DNA.

Digital Production: How do you check quality before delivery?

Walid Ben Henda: We have a three-step QC process. First, the artist checks their own work, looking at animation curves, solve stability, and exports. Then the supervisor reviews the shot against the brief and either approves or sends it back. Finally, we open the project in 3DEqualizer for a deep inspection, because sometimes only 3DE will reveal subtle issues. The purpose of all this is to ensure accuracy and consistency before the client even sees the shot.

Digital Production: Let’s talk about tools. Which ones do you rely on?

Walid Ben Henda: Our main tool is 3DEqualizer. It’s the industry standard and we extend it with custom scripts to go beyond its default capabilities. We also use toolkits like GoSavvy and MM-Solver for specific problems. Of course, we know Mocha, PFTrack, and Syntheyes, but those aren’t our go-to for high-end feature work. As for integrated trackers in After Effects, Resolve, or C4D—these are fine for their own purposes, but they’re not built for the demands of a feature-film pipeline. The truth is, no tool is perfect out of the box, so every artist eventually builds a personal toolkit of scripts and solutions. We also develop our own internal tools to solve unique problems.

Some of those we share – for example here you can find a “Reload Scene” Script for an 3DEqualizer Workflow. Or a script to Reset Lens Distortion.

Digital Production: How do you handle deliveries?

Walid Ben Henda: We prefer the foolproof approach. Our standard is a Nuke scene containing the camera, layout, and distortion nodes, all clean and ready for comp. We tidy the geometry and layout before handoff and use consistent naming conventions, either ours or the client’s. We believe in delivering complete, comp-ready assets, not partial work that still needs preparation. Fancy delivery setups exist, but in our experience, simplicity and reliability are what matter.

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Digital Production: Where do you see AI in this field?

Walid Ben Henda: AI is advancing fast, but we remain cautious. We developed iDARA, our own AI-assisted intake and project management system. It analyses incoming plates and briefs, flags complexity such as occlusion or rolling shutter, and classifies shots by difficulty. It also spots missing metadata. But iDARA is not an auto-solver. It’s a decision-support tool. Automation helps us prepare and estimate, but every delivery is still manually reviewed. AI can generate impressive images, but reconstructing precise motion is still beyond it. Generating pixels is easy; generating intent is not.

Digital Production: What advice would you give to young matchmove artists?

Walid Ben Henda:First, learn what other departments do. Understanding what compositing, FX, or layout artists need will make you a better tracker. Too many matchmove artists work in isolation, focusing only on their own curves and solves, without considering what happens once the shot leaves their desk. But tracking exists for a reason: to enable the next department. If you understand what those teams require and why, you can deliver work that truly serves the pipeline rather than just ticking a box.

Second, do not wait for supervisors to catch mistakes. You are the person who knows your shot best, and passing sloppy work up the chain only slows the project down. Check your own damn work, and check it carefully. Reviews are not supposed to be the first time someone spots jitter, slipping, or a bad orientation. They should be the final validation. By taking responsibility for your own QC, you save everyone time and avoid unnecessary frustration.

Third, always start with a clear strategy. Diving into a plate and hoping for the best is rarely effective. Think about parallax, about where your reliable features are, and about how you are going to attack the shot before you place the first tracker. Remember that you are not simply tracking dots—you are reconstructing parallax, the three-dimensional shift that gives the solve its accuracy. Studying real-world cameras will help here, because the more you know about optics and filmbacks, the better you will understand what your data is actually doing. Photography is excellent training for this: learning how lenses distort, how focus shifts, and how depth of field behaves will make you a far stronger tracker.

Finally, develop disciplined working habits. Save incremental versions religiously, because one day you will need to roll back. Expect missing metadata and be prepared to improvise without breaking the integrity of the shot. Communicate early and often with your team, because silence kills more projects than bad footage ever will. And always deliver to the end of the chain. That means not just finishing your track but packaging it in a way that makes it immediately usable for the next artist. As we like to say: where others see motion, we see parallax.

Digital Production: Any Final thoughts?

Walid Ben Henda: Matchmove is invisible, until it’s wrong. That’s why we exist: to make sure it’s right, every time. Our focus is on preventing problems before they happen, delivering assets that are ready for comp, and keeping this invisible art as solid as it can be. AI may handle simple shots one day, but the complex ones will always need skilled human trackers.

The post Matching Your Moves: Inside Vision Age VFX first appeared on DIGITAL PRODUCTION and was written by Bela Beier.