For those who don’t know the event: FMX is where post, VFX, and realtime folks compare notes, spot new workflows, and meet toolmakers from Foundry to AYON .

The 30th edition runs on site May 5 to May 7, with Online and On Campus on May 8, and On Demand from May 9 to June 9. Early Bird ticket options run until March 20. Tickets are sold through the ticket shop, and the full schedule is published as an online program schedule.

This year’s reveal is a broad spread across VFX, animation, and digital media creation, with more updates promised as additional speakers and topics get added. The headline message is simple: the program is live now, and it is designed to be browsed like a buffet. Get your preferred morsels here :)

RENO turns a studio inward

A newly confirmed session in the Shorts track focuses on RENO, an original sci fi short used as a live testbed for virtual production and machine learning workflows. The session names Tav Flett, Rob Hifle, James Pollock, and Paul Silcox, and describes how a traditionally post-driven VFX studio re-engineered its pipeline for a newly opened virtual production stage. It also calls out Gaussian splat scanning, automated rotoscoping, and marker removal as tools for streamlining production.

Generative video, now with shot notes

The hype cycle is almost over. The bubble tends to pop the moment somebody asks where this stuff fits into an actual production pipeline. That is the useful angle of Moonvalleys‘ session in the “The Road ahead” track. . Instead of treating generative video as a party trick, Ben Lock looks at what happens when studios try to use it for real: control, continuity, versioning, integration, governance, and all the other small details that usually kill shiny ideas on contact.

For VFX and animation teams, that is the point. Not more halfbaked sizzle reels, but a sober look at where generative video already helps, where it still breaks, which parts of the panic were never grounded in production reality, and when studios may begin hiring artists again once practical applications, and their many many limits, are easier to assess.

Predator: Badlands, built as a handoff

A joint presentation in the VFX for Features track names Laurens Ehrmann from The Yard VFX and Dominik Zimmerle from TRIXTER discussing work on Predator: Badlands. Shared assets, shared look development, and constant creative exchange across studios to ensure continuity while elevating environments, characters, creatures, and effects, plus a deep dive into selected sequences and the creative and technical challenges behind them.

And there is more to come! Much more!

https://fmx.de/en/program/program-2026/overview

The post FMX 2026 program goes live first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

In nuce: French visual effects service provider The Yard VFX has released an almost three-and-a-half-minute VFX showreel; the video shows the work of the VFX artists très français on the Netflix drama series Notre-Dame – the focus is primarily on set extensions, particle and fire simulation.

In toto: The film revolves around Notre-Dame de Paris Cathedral, which is on fire in 2019, surrounded by a crew of firefighters. The miniseries is based on the experiences of the firefighters who were on duty during the fire. The Netflix series, with a total length of around five hours, was released on the streaming provider Netflix in 2022. The Yard VFX has been (The Gray Man, Enola Holmes 2, Wanda Vision) and will be (Indiana Jones and the Dial of Destiny, John Wick 4) involved in many visual effects blockbusters.

Click further: Digital Production has repeatedly reported on how realistic fire effects can be achieved – not least in the following news items.

• 16.09.2020: After-effects tutorial: Playing with fire makes the forest sizzle. All-clear: It’s all virtual!
• 7.04.2022: Here JangaFX demonstrates its fire effects! In this video, developer EmberGen ignites enthusiasm for particle simulation tools. Get infected now!

The post Notre-Dame | VFX Showreel first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: French visual effects service provider The Yard VFX has released a VFX breakdown of the action thriller The Gray Man. By the way, it starts in Vienna at minute 2:25.

In toto: The actioner The Gray Man has been released on the Netflix streaming platform and was directed by Anthony and Joe Russo (The First Avenger: Civil War, Avengers: Infinity War, Avengers: Endgame). The film stars Hollywood greats Ryan Gosling & Chris Evans and Ana de Armas (Knives Out, Blade Runner 2049, No Time to Die, among others). At the centre of the film is a CIA agent who uncovers a secret – which triggers a worldwide hunt by bounty hunters. The Yard VFX’s portfolio includes not only French productions, but above all many well-known international productions – including: John Wick 4, Wanda Vision, Enola Holmes 2, Ford v. Ferrari, or the upcoming fifth instalment of the whip-wielding and rattling hat series Indiana Jones (and the Dial of Destiny).

Clicked further: On 20 April 2017 , Digital Production last reported on The Yard VFX – at the time via a eye-pleasing showreel from the France-based VFX house.

The Gray Man | VFX Showreel

The post The Gray Man | VFX Breakdown first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.