Here are the first 10 episodes again, with each **title** linked directly to its YouTube video and no attachment URLs. ​ --- # Movies Insider – Season 1 (Episodes 1–10) Tags: #moviesinsider #filmmaking #craft --- ## [How RRR's Moving Train Stunt Was Shot | Movies Insider | Insider](https://www.youtube.com/watch?v=4U8hQIymfmI) Runtime: 8:44 ​ Tags: #stunts #vfx #miniatures #trains **Summary:** Breaks down how _RRR_ staged its moving‑train action using scale models, a flipper rig, and controlled motion, and compares these techniques to train work in films like _Snowpiercer_, _Spider‑Man 2_, _Mission: Impossible_, and _Bullet Train_. ​ **Description** Action scenes set on moving trains happen over and over again throughout movie history, but they're rarely filmed on actual moving trains. When they are, they have to be meticulously planned, from the train derailment in "Lawrence of Arabia" (1962) to James Bond's fight on top of a real moving train in "Skyfall" (2012). There are a variety of techniques to simulate thrilling train action. For a deadly train explosion in "RRR" (2022), Surpreeze used a scale model of a train that could be pulled across a bridge and blown up. For another shot, the VFX studio was able to launch a full-size train car safely into the water by mounting it to a flipper. Scenes that take place inside or on the exterior of a moving train will have to create constant motion. The continuous forward movement and turbulence you see on the train in "Snowpiercer" (2014) and on the subway fight in "Spider-Man 2" (2004) were done by putting train cars on top of motion platforms. When Tom Cruise climbs on top of a high-speed train in "Mission: Impossible" (1996), the crew utilized a wind machine blowing 140 mph winds at him. Train movement can also be created without any real movement. In "Bullet Train" (2022), Brad Pitt and Aaron Taylor-Johnson were frequently on a static soundstage set. With drone footage of the passing Japanese countryside on LED screens outside the train's windows, the looping images and passing lights made the moving-train illusion feel completely real. ​ --- ## [How 'Modern Warfare II' Became The Most Realistic 'Call Of Duty' Game | Movies Insider | Insider](https://www.youtube.com/watch?v=MimcufVHzi8) Runtime: 9:50 ​ Tags: #games #vfx #photogrammetry #performancecapture **Summary:** Shows how Infinity Ward uses photogrammetry, costume distressing, and miniature scanning to translate real‑world gear and objects into the highly realistic world of _Modern Warfare II_. ​ **Description** "Call of Duty: Modern Warfare II" is the most realistic version of the game yet. The first-person shooter game has incorporated methods of photogrammetry and performance capture to transport our world into the world of "Modern Warfare," scanning in everything from Ghost's mask to fully-costumed characters. The team even distresses its costumes in real life to add naturalistic wear and tear to the military gear in the game. And it creates and scans real miniature models to stand in for BattlePass's emblem and rewards. We visited Infinity Ward's studio in LA to find out how the developer continues pushing the boundaries of realism and immersion in video games. ​ --- ## [What 12 Keanu Reeves Stunts Looked Like Behind The Scenes | Movies Insider | Insider](https://www.youtube.com/watch?v=I7lYjYnPOyU) Runtime: 12:21 ​ Tags: #stunts #action #performance #keanureeves **Summary:** Follows Keanu Reeves’s stunt journey from early action roles through _The Matrix_ and _John Wick_, highlighting his martial arts, driving, wire work, and extreme stunts like skyscraper jumps and complex car‑fight choreography. ​ **Description** Throughout his 40-year career, Keanu Reeves has pushed the limits of what kinds of action an actor can do on-screen. Keanu’s breakthroughs into action movies were “Point Break” (1991) and “Speed” (1994). In the groundbreaking “The Matrix” (1999) and its sequel “The Matrix Reloaded,” he performed impressive martial-arts moves and wire fu. In “The Matrix Resurrections” (2021), he jumped off a 550-foot skyscraper to pull off the perfect shot. With “John Wick” (2014) and its sequels, Keanu and the stunt team pushed the envelope physically as far as possible. In “John Wick: Chapter 2” (2017), Keanu immersed himself in judo and jujitsu while stunt-driving for parts of the film’s memorable opening scene. In “John Wick: Chapter 3 - Parabellum” (2019), he learned trick horse riding and participated in a motorcycle sword fight with clever visual effects. In “John Wick: Chapter 4” (2023), Keanu participated in the franchise’s most ambitious action scene yet, which required him to learn how to do a reverse 180 in a muscle car and then do hand-to-hand combat between speeding cars. ​ --- ## [Why It's So Difficult To Shoot Night Scenes During The Day | Movies Insider | Insider](https://www.youtube.com/watch?v=1ctQIIl1PxY) Runtime: 10:56 ​ Tags: #cinematography #dayfornight #vfx **Summary:** Explains why productions shoot night scenes in daylight and how Hoyte van Hoytema’s dual‑camera color+infrared technique for _Nope_ evolved from his work on _Ad Astra_ to create more convincing day‑for‑night imagery. ​ **Description** Most of the nighttime scenes in Jordan Peele's "Nope" (2022) were filmed in broad daylight. The same is true of films like "Mad Max: Fury Road" (2015), "Lawrence of Arabia" (1962), and many other Hollywood classics. So why does Hollywood film its night scenes during the daytime? We spoke with cinematographer Hoyte Van Hoytema — the director of photography behind "Nope" and other films like "Tenet" (2020), "Dunkirk" (2017), and "Interstellar" (2014) — about the challenges of this approach and how he innovated an entirely new way of shooting day for night for "Nope." Historically, the day-for-night approach hasn't always produced the most convincing results. On "Nope," Van Hoytema and director Jordan Peele wanted to avoid the aesthetic of practical smoke and fake silhouettes that characterizes traditional day-for-night scenes — an aesthetic that Van Hoytema and Peele referred to as "movie nights." To find a new approach, Van Hoytema adapted a technique he originally developed to film a lunar chase for "Ad Astra" (2019). The solution on that film involved a two-lens 3D camera rig, including one camera that filmed in color and one camera that filmed in infrared. The infrared footage allowed the team to more naturally alter the colors of the California landscape into something closer to moon lighting. Van Hoytema used a similar two-camera rig on "Nope" that simulated the way the human eye behaves in low-light scenarios. The result: deep, immersive nights that capture the vastness of the desert and sky — and amp up the tension in Peele's sci-fi thriller. ​ --- ## [How Avatar’s VFX Became So Realistic | Movies Insider | Insider](https://www.youtube.com/watch?v=IPQ5vTqqdgE) Runtime: 12:34 ​ Tags: #vfx #performancecapture #water #animation **Summary:** Details how _Avatar: The Way of Water_ built on advances from _Alita_, _Planet of the Apes_, and Marvel to introduce underwater performance capture, two‑camera facial rigs, and muscle‑based facial animation that enabled thousands of water shots and nuanced Na’vi performances. ​ **Description** It took James Cameron 13 years to make the follow-up to “Avatar” (2009). That time was spent making the sequel, “Avatar: The Way of Water” (2022), even more technologically groundbreaking than its predecessor. While the first movie’s water-based scenes were actually shot on a dry set, the director and his crew built a performance-capture stage that actually worked both underwater and above the surface. But to get the clearest reference footage possible, the cast had to learn to hold their breath for extended time periods. That way, Sigourney Weaver and Kate Winslet could act out scenes underwater without worrying about breath bubbles obscuring their faces. The crew could also translate Sam Worthington, Zoë Saldana, and Stephen Lang’s performances to their Na’vi counterparts with even more accuracy thanks to a helmet with two cameras attached to it that was first developed for “Alita: Battle Angel” (2019). Tools created specifically for “The Way of Water” allowed the crew to see rough CG renderings of a given scene while they were filming it and helped Wētā FX more convincingly place CG and live-action elements in a scene than ever before. The VFX artists could also create even more nuanced emotions in CG with a brand-new system that allowed them to animate deep below the surface of a character’s face. These new systems would not have existed without developments between the new “Avatar” films on Gollum in the “Hobbit” movies (2012 to 2014), Caesar in the “Planet of the Apes” trilogy (2011 to 2017), and Thanos in “Avengers: Infinity War” (2018) and “Avengers: Endgame” (2019). It’s no wonder that on “The Way of Water,” Wētā was able to create 2,225 water shots while tracking 3,198 facial performances. ​ --- ## [How Characters Are Made to Look Bigger and Smaller in Movies & TV | Movies Insider | Insider](https://www.youtube.com/watch?v=DbK8JhnqJp4) Runtime: 11:14 ​ Tags: #vfx #scale #forcedperspective #performancecapture **Summary:** Surveys techniques for resizing characters, from platforms and oversized props to forced perspective in _LOTR_, performance capture giants like Thanos, and precise virtual production methods in _Avatar: The Way of Water_. ​ **Description** Since the invention of film, filmmakers have tried to trick viewers into believing that an actor is either shorter or taller than they really are. The most classic techniques are sticking an actor on a platform or having them interact with props built to scale. But those need to be paired with clever camera angles and visual effects. In “The Lord of the Rings: The Fellowship of the Ring” (2001), director Peter Jackson employed a forced perspective so Gandalf would really look like he was interacting with a hobbit. More complex computer-controlled camera moves and blue-screen compositing helped make the shots more complex and were used further in “The Two Towers” (2002), “The Return of the King” (2003), and the “Hobbit” trilogy (2012 to 2014). Performance capture created even more opportunities for actors to play giants on camera in “Avatar” (2009) and “The BFG” (2016), but creating the proper sense of scale gets trickier when these characters have to interact with normal-sized actors. When playing 8-foot-tall Thanos in “Avengers: Infinity War” (2018) and “Avengers: Endgame” (2019), Josh Brolin wore a cutout on his head to fill the gap. A more sophisticated method used in Marvel’s “She-Hulk: Attorney at Law” (2022) involved using CG to combine Tatiana Maslany’s performance with that of a much taller body double. Now, with “Avatar: The Way of Water” (2022), director James Cameron and the artists at Weta FX figured out some of the most precise and convincing ways yet to size up actors through a combination of floating monitors, virtual cameras, and props. ​ --- ## [How Netflix's 'Pinocchio' Innovated Stop-Motion Animation | Movies Insider | Insider](https://www.youtube.com/watch?v=RnFrTQ6WKXY) Runtime: 10:39 ​ Tags: #animation #stopmotion #puppets #vfx **Summary:** Explores how Guillermo del Toro’s _Pinocchio_ combines traditional stop‑motion craft, geared heads, and 3D‑printed faces with modern rigging and VFX to create expressive, detailed puppets and environments. ​ **Description** Guillermo del Toro’s Netflix adaptation of “Pinocchio” breathes new life into the over-century-old art form of stop-motion animation. The film achieved a new level of expressiveness in its animated puppets by marrying traditional stop-motion techniques with newer technologies. We spoke with “Pinocchio” puppet fabrication supervisor Georgina Hayns and animation supervisor Brian Leif Hansen about the labor of love behind the film. Hayns and Leif Hansen are world-renowned stop-motion artists who brought their expertise to the three-year undertaking that was “Pinocchio.” Previously, Hayns supervised character fabrication for “Kubo and the Two Strings” (2016), “The Boxtrolls” (2014), “ParaNorman” (2012), and “Coraline” (2009). Leif Hansen was an animator on “Missing Link” (2019), “Fantastic Mr. Fox” (2009), and “Frankenweenie” (2012). Both artists worked on Tim Burton’s “Corpse Bride” (2005), which was pioneering for its use of geared heads to express nuanced emotion in stop-motion characters, a technique adopted in “Pinocchio.” Meanwhile, other stop-motion films like “Coraline” laid the groundwork for the implementation of 3D printing technology in “Pinocchio.” Del Toro’s team built and expanded upon all of these tools and more to light up the lived-in world of “Pinocchio.” ​ --- ## [How Disney Movie Backgrounds Evolved Over 17 years | Movies Insider | Insider](https://www.youtube.com/watch?v=L_Zx8j1HYzA) Runtime: 14:18 ​ Tags: #animation #environments #rendering #disney **Summary:** Traces Disney’s CG background evolution from _Chicken Little_ to _Strange World_, showing how vegetation tools, city lighting, water and lava sims, and atmospheric systems created increasingly dynamic environments. ​ **Description** Tech advancements have allowed Disney to go from more static environments in its earliest computer-animated movies to a living, breathing landscape in “Strange World” (2022). This new setting has a level of movement, texture, dimension, and scale that would have been unthinkable 17 years ago, when Disney made its first foray into full computer animation with “Chicken Little” (2005). Since then, Disney has expanded its tool set with each successive film to create landscapes that feel just as alive as the characters. For the storybook setting of “Tangled” (2010), the environment artists created new tree-modeling and growth tools to help them build art-directed forests at scale. For the even more highly stylized vegetation in “Frozen” (2013), Disney developed a full vegetation tool to create not just trees but bushes, foliage, and plants, all in very specific and artistically guided shapes. Having mastered these organic environments, the studio took on the challenge of a densely packed, lights-filled urban setting in “Big Hero 6” (2014). To handle the hundreds of thousands of lights in the city of San Fransokyo, Disney’s engineers built a powerful new renderer that could work with several million rays of light at once. The island environments of “Moana” (2016) drove Disney to find new ways to simulate water, lava, sand, mud, and foam, improvements that laid the groundwork for more ocean simulation in “Frozen II” (2019), while the Southeast Asian settings of “Raya and the Last Dragon” (2021) pushed Disney to revamp how it creates atmospheric elements like fog and mist. With all these tools, the team on “Strange World” had to balance creating an interactive, dynamic environment with a life of its own and staying true to the story-first principle of the classic Disney movies. To strike this careful balance, the filmmakers used a new animation pipeline and tools like camera lenses, editing, and sound design to make sure their world always supported — never distracted from — the characters’ emotional journeys. ​ --- ## [How Moving Cars are Faked In Movies and TV | Movies Insider | Insider](https://www.youtube.com/watch?v=NSQDlTupArk) Runtime: 7:10 ​ Tags: #stunts #sfx #vehicles #rigging **Summary:** Visits NAC Effects to show how six‑axis motion bases, gimbals, and specialized rigs simulate cars, bikes, boats, helicopters, planes, and even creatures without real vehicle motion. ​ **Description** Sometimes, it’s safer for productions to fake vehicles’ movements for stunts rather than put them in real action. So special effects artists will use rigs and gimbals to make them move in place. NAC Effects will put a given vehicle or set on top of one of its six-axis motion bases capable of creating realistic movements of all sorts. For Netflix’s “Day Shift” (2022), the crew put a pickup truck on a base and added a rotator. This allowed it to make sharp turns while appearing to go uphill and off road before spinning 360 degrees. When it comes to motorcycles, NAC can attach the motorcycle at the bottom and keep the wheels free, which helped The Rock look like his bike was soaring through the air in “Jumanji” (2017). Meanwhile, if the operator adds some vibrations, it can look like it’s going on a cobblestone street, like in “The Girl with the Dragon Tattoo” (2011). Then, by making larger and more sweeping movements, they can make a boat really look like it’s riding the waves, which they did for “The Big Bang Theory” and “The Wolf of Wall Street” (2013). Because Leonardo DiCaprio and Margot Robbie were inside a yacht set on top of the gimbal, they could experience a simulated storm for real. And when it comes to airplane scenes involving turbulence and crashes, like in “Almost Famous” (2000), “Flight” (2012), and “The Amazing Spider-Man 2" (2014), the operator will start with small movements and then build up to bigger and bigger ones. And when it comes to making helicopters fly realistically, like in “Iron Man 3” (2013), it’s important to constantly shake and spin them as much as possible. ​ --- ## [How ‘Rings of Power’ Created Its Extreme Ocean Storm | Movies Insider | Insider](https://www.youtube.com/watch?v=cEC16VtrTfw) Runtime: 10:33 ​ Tags: #vfx #water #sfx #tanks **Summary:** Breaks down how _The Rings of Power_ staged its Sundering Seas storm using large outdoor water tanks, gimbals, heavy equipment, pyro, and ILM VFX, combining practical and digital elements roughly 50/50. ​ **Description** The second episode of “The Lord of the Rings: The Rings of Power” centers on an epic storm in the Sundering Seas. Pulling it off involved a method that has become Hollywood’s go-to approach for creating storms at sea: filming the sequence in a giant water tank. Outdoor water tanks have become a staple of productions big and small seeking to recreate scenes of violent ocean storms — from Kumeu Studios in New Zealand, where “Rings of Power” filmed its storm, to Pinewood’s horizon water tank in the Dominican Republic, where films like “The Lost City” (2022) and “Old” (2021) have shot aquatic scenes. Tanks allow filmmakers to exercise exacting control over the conditions of a seemingly chaotic scene, whether a tempest like that in “The Rings of Power” or a tidal wave like that in “The Impossible” (2012). Helming the storm in “Rings of Power” were J.A. Bayona and Óscar Faura, the director and cinematographer who previously recreated the 2004 Indian Ocean tsunami for “The Impossible” at Ciudad de la Luz Studios’ massive seaside tank in Spain. The director-DP duo joined a team of expert storm-makers that included special effects supervisor Dean Clarke, who helped create the ocean hurricane effects in “Adrift” (2018), and ILM, the VFX studio behind scores of water- and storm-heavy movies, from earlier films like “Deep Impact” (1998), “The Perfect Storm” (2000), and “Poseidon” (2006) to the massive maelstrom in “Pirates of the Caribbean: At World’s End” (2007) and the biblical deluges in “Evan Almighty” (2007) and “Noah” (2014). We spoke with Clarke along with producer Ron Ames, who oversaw VFX and postproduction for “Rings of Power,” and senior VFX supervisor Jason Smith, who coordinated the series’ extensive digital effects work. We also talked to Bolívar Sánchez, the marine and underwater coordinator for Pinewood’s tank set, about how productions achieve key storm shots in water tank sets while prioritizing safety and control. “Rings of Power” filmed the underwater portions of its storm in an immersive dive tank at the same facility in New Zealand. In the larger tank, the team used a combination of construction diggers, dunk tanks, pyro, switchable backgrounds, a gimbal-controlled raft, and a retractable roof to create a swirl of water and weather effects. They paired these practical techniques with subtle VFX that added CG waves, streaks of froth, and digital lightning bolts. Ultimately, the sequence used a 50-50 split between practical and digital effects. ​ --- ## [How Underwater Scenes Are Shot For Movies And TV Shows | Movies Insider | Insider](https://www.youtube.com/watch?v=QxX95Cx_YCE) Runtime: 9:45 ​ Tags: #underwater #cinematography #stunts #vfx **Summary:** Compares open‑ocean vs tank shooting, shows how films like _The Shallows_, _The Meg_, and _Thirteen Lives_ balance realism and safety, and contrasts real‑water approaches with dry‑for‑wet methods in _The Shape of Water_ and _Aquaman_. ​ **Description** Underwater scenes are incredibly difficult to shoot, as the conditions mean the cast and crew have to rethink nearly every aspect of making a movie. While shooting in the open ocean provides the most realism, productions have very little control over water conditions and safety, which is why "The Shallows" (2016) shot some of its underwater stunts with Blake Lively in a more controllable tank. But with today's sleek cameras and advanced scuba gear, "The Meg" (2018) was still able to film with trained stunt divers in rough waters. When it came to "Thirteen Lives" (2022), shooting in water tanks was much safer than in real underwater caves. But when building the cave sets, the film's production designer had to forgo foam and wood for steel and concrete, while the cinematographer had to balance getting compelling footage with portraying the distinct choppiness and murkiness of water. To avoid those intricacies, other films like "The Shape of Water" (2017) and "Aquaman" (2018) instead filmed the underwater scenes on dry land and added underwater qualities using lighting tricks and CG. No matter where underwater scenes are filmed, they won't fully work unless you pay attention to every little factor, ranging from how Lupita Nyong'o's outfit would look underwater in "Black Panther: Wakanda Forever" (2022) to how The Rock's boots would impact his breathing in "San Andreas" (2015) and how Jason Momoa's hair would flow with the current in "Aquaman." ​ --- ## [What 12 Of The Rock’s Stunts Looked Like Behind The Scenes | Movies Insider | Insider](https://www.youtube.com/watch?v=lMVG9goigak) Runtime: 10:22 Tags: #stunts #action #therock **Summary:** Follows Dwayne Johnson’s evolution as an action star, showing how training, stunt coordination, and VFX combine to pull off gags like motorcycle leaps, bull hits, torpedo redirection, and large‑scale fights.paste.txt​ **Description** Ever since Dwayne "The Rock" Johnson transitioned from wrestling star to movie star, the actor has found new ways to pull off seemingly impossible action on-screen with the help of some of Hollywood's best stunt performers and effects artists. For him, that has meant a lot of preparation, like when he played a rescue pilot in "San Andreas" (2015). Thanks to clever camerawork, stunt coordination, and visual effects, he was able to leap off a motorcycle in "Jumanji: Welcome to the Jungle" (2017), get hit by a bull in Netflix's "Red Notice" (2021), and redirect a torpedo in "The Fate of the Furious" (2017), which made for one of the most memorable moments in the "Fast and the Furious" franchise. And his dedication to his workouts as well as the fight training skills he picked up as a wrestler benefited him in roles like "Hercules" (2014), "Fast & Furious Presents: Hobbs & Shaw" (2019), and "Black Adam" (2022).paste.txt​ --- ## [How Medical Scenes Are Faked For Movies & TV | Movies Insider | Insider](https://www.youtube.com/watch?v=7cABTivGb9o) Runtime: 6:23 Tags: #makeup #prosthetics #medical #sfx **Summary:** Visits Vincent Van Dyke Effects to show how research‑driven prosthetics and gore are built for surgeries, autopsies, and emergency scenes, making medical drama bodies convincing enough for real‑world training.paste.txt​ **Description** Convincingly recreating medical conditions and procedures for TV goes beyond mere gore. For prosthetic artists, it requires extensive research and an attention to scientific detail to craft the realism of the effect … no matter how outlandish the scenario may be. We visited Vincent Van Dyke Effects in Burbank, California, to find out how the team creates medical effects for autopsies, open-heart surgeries, and more. An eight-time-Emmy-nominated makeup and prosthetics designer, Vincent Van Dyke has worked on medical shows like "Grey's Anatomy," "Private Practice," "Pure Genius," "The Resident," "Code Black," and "Nip/Tuck," along with first-responder dramas like "9-1-1" and "Station 19." The Orange County Sheriff-Coroner's Department has hired Vincent to make fake autopsy bodies and dummies as training aids — his medical effects are that lifelike.paste.txt​ --- ## [How Superhero Workouts Transform Actors For Superhero Roles For Movies & TV Shows | Movies Insider](https://www.youtube.com/watch?v=F6bbB81izug) Runtime: 7:16 Tags: #training #performance #superheroes **Summary:** Profiles trainer Kirk Myers and others as they build superhero‑ready bodies, focusing on strength, balance, and agility for wire work and fights, illustrated through Noah Centineo, Elizabeth Olsen, and Scarlett Johansson.paste.txt​ **Description** Playing a superhero requires actual physical strength to pull off the moves needed to sell a stunt. Dogpound’s Kirk Myers worked with Noah Centineo as he prepared to play Atom Smasher alongside Dwayne “The Rock” Johnson in DC’s "Black Adam" (2022). Kirk focused on improving Noah’s core and upper-body strength, which improved his endurance and gave him an ideal muscular look. Balance is also a key skill when these roles require a lot of wirework for flying scenes, like when Elizabeth Olsen played Scarlet Witch in "WandaVision" (2021) and the "Avengers" films. Core strength combined with agility can give a performer superhuman kicks and punches in fight scenes, which is what trainer Eric Johnson did when working with Scarlett Johansson when she played Black Widow in "Captain America: Civil War." Thanks to Kirk’s workouts, Noah gained 35 pounds of muscle and could even flip a 210-pound tire.paste.txt​ --- ## [How Hyperrealistic Wigs Are Made For 4K Movies & TV | Movies Insider | Insider](https://www.youtube.com/watch?v=WpTe2fuTJWY) Runtime: 10:17 Tags: #hair #wigs #makeup #costume **Summary:** Shows how Wigmaker Associates designs ultra‑realistic lace‑front wigs for 4K closeups, tracing hairlines, matching historical styles, and tuning color for camera and lighting on projects like _Stranger Things_, _Pose_, and _The First Lady_.paste.txt​ **Description** From Millie Bobby Brown's buzz cut in "Stranger Things" to Ana de Armas' Marilyn Monroe curls in "Blonde" (2022), movies and TV shows have had to transform character via wigs for decades. To find out how a master wigmaker designs full heads of hair for movies and TV shows, we visited the New York and Beverly Hills studios of Wigmaker Associates with founder Rob Pickens. In the era of 4K and HD cameras, the standard for film and TV wigs has never been higher. Digital cameras are significantly less forgiving than film, meaning that hairlines must appear seamless and lace fronts must be finer. Rob's team shows us how they trace the intricacies of actors' hairlines and growth patterns to create wigs that mimic nature. He explains how he worked with "Stranger Things" hair department head Sarah Hindsgaul to make the short-haired Eleven wig sit invisibly on Millie Bobby Brown's scalp, using techniques such as point knotting and an ingenious application process. And having worked on period pieces like "Pose," "The Gilded Age," and "American Crime Story," Rob discusses how historical settings shape the color and texture of his wigs. Rob also breaks down how factors like camera and lighting influence wigs' coloring, from Amanda Seyfried's blond in "Mank" (2020) to Eddie's ash brown in "Stranger Things." He worked with hair department head Jaime Leigh McIntosh to perfect the red of Olivia Wilde's wig in "Don't Worry Darling" (2022) and the multi-dimensional color of Michelle Pfeiffer's Betty Ford wigs for "The First Lady" (2022). Meanwhile, on "Pam & Tommy" (2022), lead hair designer Barry Lee Moe incorporated four shades of blonde into Rob's wigs to make Pam Anderson's signature platinum pop on camera.paste.txt​ --- ## [How Realistic Animal Props Are Made For Movies & TV Shows | Movies Insider | Insider](https://www.youtube.com/watch?v=WAyXSUfgYws) Runtime: 8:29 Tags: #props #creatures #sfx **Summary:** Visits MastersFX to show how fake animals are sculpted, textured, haired, and puppeteered for unsafe or impossible actions, with examples from _The Boys_, _Nightmare Alley_, and other productions.paste.txt​ **Description** When a movie or TV show wants to film an action that it never could with a real animal, special effects artists have to come up with a convincing fake version. Thanks to the special effects artists at MastersFX, "The Boys" season three created several infamous scenes involving octopi and hamsters. Many instances, like in "Nightmare Alley" (2021) and "The Love Guru" (2008), involve scenes that switch between a real animal and a fake version for moments that wouldn’t be safe for a real animal to do. To make sure the switch is seamless, the artists need to focus on skin texture and blotchy skin tones while adding hair and feathers by hand. This all gets more complicated when the animals need to move on-screen. With creative thinking, an animatronic chicken can flap its wings while pieces of fishing line can stand in for CG tentacles.paste.txt​ --- ## [How Cars Are Destroyed For Movies & TV | Movies Insider | Insider](https://www.youtube.com/watch?v=eMgMlNdREew) Runtime: 8:47 Tags: #sfx #cars #stunts #destruction **Summary:** Uses JEM FX’s prep and destruction of a Buick LeSabre as a case study in how cars are structurally weakened, then spectacularly wrecked for films like _Shang‑Chi_, _Bright_, and _Taken 3_.paste.txt​ **Description** Car crashes in movies like "Shang-Chi and the Legend of the Ten Rings" (2021) may look random and chaotic. But pulling off destruction that spectacular on camera requires hyper-tailored prep work — both on the cars themselves, and on other set elements. We visited JEM FX to find out how its team of effects wizards primes cars to get destroyed spectacularly on camera. Taking a Buick LeSabre as our case study, JEM’s technicians showed us how they score a car’s roof pillars and replace its door hinges to set it up for optimal wreckage. Then we saw how the weakened car responded to various forms of destruction, from having a 3,000-pound weight dropped on its roof to getting its doors whacked off with a forklift. The team at JEM also walked us through some highlights of their automobile effects work on "Shang-Chi" (2021), "Bright" (2017), "Taken 3" (2014), and "Velvet Buzzsaw" (2019).paste.txt​ --- ## [How Fight Scene Props Are Made For Movies & TV | Movies Insider | Insider](https://www.youtube.com/watch?v=4icFrd_o6cQ) Runtime: 9:29 Tags: #props #stunts #safety **Summary:** Shows how prop master Josh Bramer and ISS build multiple versions of weapons and breakaway items so each beat of a fight can be sold safely and convincingly.paste.txt​ **Description** Each move in a Hollywood fight scene can call for a different, specially rigged prop, custom-made to meet the purposes of safety and drama. We visited the prop truck of Josh Bramer, the prop master behind "Euphoria," "Everything Everywhere All At Once," "Blonde," and "Don't Worry Darling," and the country's biggest prop house, ISS, to find out how stunt props are designed to sell fight scenes while keeping everyone safe on movie sets.paste.txt​ --- ## [How A 9-Ton Dinosaur Was Made For "Jurassic World: Dominion" | Movies Insider | Insider](https://www.youtube.com/watch?v=cYrHDPIuz7I) Runtime: 7:17 Tags: #animatronics #creatures #vfx **Summary:** Details how a 9‑ton animatronic Giganotosaurus head and neck were built and puppeteered on set, then extended with ILM CG to create a towering dinosaur that interacts physically with the cast.paste.txt​ **Description** The animatronic Giganotosaurus from "Jurassic World: Dominion" (2022) was the largest practical head built for any "Jurassic Park" film. The practical and digital effects teams worked hand in hand to bring the Giga to life. Live-action-dinosaur supervisor John Nolan led a team to create a Giga puppet that looked and moved like a real dinosaur could. The head was placed on a rig that weighed around 9 tons and could move up and down and interact with Chris Pratt, Bryce Dallas Howard, Jeff Goldblum, and Laura Dern on set. While only the Giga’s head and neck were created, visual effects supervisor David Vickery and his team at ILM built the CG body to perfectly match the puppeteered movements on set. "Jurassic World: Dominion" (2022) is now available on 4K ultra HD, Blu-ray, and digital, with an extended edition featuring extra footage.paste.txt​ --- ## [How Cartoon Sounds Are Made For Movies & TV Shows | Movies Insider | Insider](https://www.youtube.com/watch?v=NhKTP5_LfU8) Runtime: 8:07 Tags: #sound #foley #animation **Summary:** Follows Foley artists Sanaa Kelley and Monique Reymond as they create exaggerated, stylized sounds for animated shows like _Avatar: The Last Airbender_, _SpongeBob_, and others, working from scratch without production sound.paste.txt​ **Description** Animation requires a special kind of Foley sound: more heightened, and less bound by realism. Plus, when working on cartoons, Foley artists start from scratch with no production sound to match, which opens up a world of creative possibilities. Foley artists Sanaa Kelley and Monique Reymond showed us how they created cartoony sounds for "Avatar: The Last Airbender," "SpongeBob SquarePants," "Rugrats," "Invader Zim," "Teen Titans Go!," "Kung Fu Panda: Legends of Awesomeness," and more. Sanaa Kelley is the owner of Reel Foley Sound in Costa Mesa, California, and Monique Reymond is a Foley artist based in Los Angeles, both with extensive animation credits.paste.txt​ --- ## [How Frozen-In-Time Scenes Are Shot For Movies And TV | Movies Insider | Insider](https://www.youtube.com/watch?v=OrgbZD2sRnU) Runtime: 8:53 Tags: #vfx #cinematography #editing **Summary:** Explains techniques for “time stands still” shots, from extreme high‑speed photography and digital retiming in the _X‑Men_ Quicksilver scenes to practical frozen setups in _The Worst Person in the World_.paste.txt​ **Description** As seen in the likes of "Spider-Man" (2002), "The Matrix" (1999), and "The French Dispatch" (2021), movies can make scenes look like they’re frozen in time. The first step is shooting at a higher frame rate to slow the action down as much as possible. In "X-Men: Days of Future Past" (2014) and "X-Men: Apocalypse" (2016), the crew used a camera capable of shooting at 3,000 frames per second to capture time standing still as Quicksilver runs at superspeed. In postproduction, digital tools allowed animators to retime a live-action shot so Quicksilver looks like he’s the only one moving, while stabilizing any subtle movements on any characters who were supposed to be completely still. But movies can also approach these scenes practically. For the Oscar-nominated "The Worst Person in the World" (2021), prop master Hedda Virik created a fake coffee stream, built stands to hold up bicycles mid-ride, and employed stuffed dogs to sell the illusion of frozen time.paste.txt​ --- If you want to continue, say “episodes 21–30” and the next block can be formatted the same way. 1. [https://ppl-ai-file-upload.s3.amazonaws.com/web/direct-files/attachments/139614499/e43ae108-1092-4109-872b-02bd9218fab9/paste.txt](https://ppl-ai-file-upload.s3.amazonaws.com/web/direct-files/attachments/139614499/e43ae108-1092-4109-872b-02bd9218fab9/paste.txt) 2. [https://www.youtube.com/show/VLPLKfWL8IXgKBt2eZVF20Ar9EhSUtPFygS3?season=AllEpisodes&sbp=CgtBbGxFcGlzb2RlcxoAKgtlbGNPeG1DQnIzVUAB](https://www.youtube.com/show/VLPLKfWL8IXgKBt2eZVF20Ar9EhSUtPFygS3?season=AllEpisodes&sbp=CgtBbGxFcGlzb2RlcxoAKgtlbGNPeG1DQnIzVUAB) --- ## [How Flying Scenes Are Shot For Movies And TV | Movies Insider | Insider](https://www.youtube.com/watch?v=k_Ey8WGtUcE) Runtime: 8:26 Tags: #stunts #rigging #vfx #flight **Summary:** Surveys wire rigs, camera tricks, digital doubles, and robotic arms used to make characters fly, from early Superman shows to _Black Widow_ and Wanda’s flying in Marvel projects.paste.txt​ **Description** One of the biggest challenges for Hollywood’s stunt performers is creating flight that is both safe and believable. Since George Reeves portrayed Superman in the 1950s, movies and TV shows have used an endless variety of wires, pans, and other rigs to lift actors up high. The best tools depend on the type of flying on-screen. A huge breakthrough came in 1978's “Superman” when a visual effects artist discovered a way to operate the camera so that Christopher Reeve would appear to be flying even when he was lying flat. Today, many of those same wire and camera tricks are still used. However, digital doubles can make even the most dangerous flying tricks possible, while flying moves can be programmed in advance into a robotic arm, as seen in “Black Widow.” Elizabeth Olsen’s stunt double, CC Ice, told us about the many ways both Marvel’s “Avengers: Infinity War” and “WandaVision” made Wanda Maximoff fly.paste.txt​ --- ## [How Marvel and DC Superhero Costumes Evolved in Movies and TV Shows | Movies Insider | Insider](https://www.youtube.com/watch?v=Wkhrw0q5JBo) Runtime: 9:11 Tags: #costumes #superheroes #vfx **Summary:** Tracks superhero costume evolution from early serials to _The Batman_, emphasizing 3D printing, CGI, and mocap in making detailed, practical suits for Marvel and DC characters.paste.txt​ **Description** Robert Pattinson's batsuit in "The Batman" (2022) was the most practical version yet of the iconic hero's batsuit. And it was possible in part due to technological advancements in the past 80 years that have transformed superhero costumes in movies and TV shows. Marvel and DC movies like "Iron Man" (2008) and "Man of Steel" (2013) have consistently utilized the latest technology to make costumes more real than ever. 3D printing, CGI, and motion-capture technology all helped create costumes with greater detail and practicality to craft the realistic superhuman figures we see on-screen. "The Batman" is available to own on digital download from May 23, 2022, and on 4K UHD, Blu-ray, and DVD from June 13, 2022.paste.txt​ --- ## [How The Kung Fu Fight Scenes Were Shot In 'Everything Everywhere All At Once' | Movies Insider](https://www.youtube.com/watch?v=W1pxH3bQZMQ) Runtime: 7:47 Tags: #stunts #fightchoreography #martialarts **Summary:** Breaks down how stunt coordinator Timothy Eulich and Martial Club’s Andy and Brian Le choreographed and shot inventive kung fu scenes in _Everything Everywhere All at Once_ on a tight schedule and single‑warehouse location.paste.txt​ **Description** The fight scenes in "Everything Everywhere All at Once" put a fresh spin on classic kung fu movies. We spoke with stunt coordinator Timothy Eulich and fight choreographers Andy and Brian Le about how the movie's most impressive action sequences came together. Timothy, Andy, and Brian worked with directing duo Daniel Kwan and Daniel Scheinert, aka the Daniels, to plan and execute the film's fight scenes on a tight budget and shooting schedule, shooting almost entirely within the confines of a single warehouse building in Southern California. Here, they talk about the inspirations and references they pulled from in choreographing the action in "Everything Everywhere," from classic Hong Kong movies and Jackie Chan action flicks to break dancing and parkour. Timothy has worked as a stunt coordinator and performer on TV series like "Westworld" and "Stranger Things" and films like "Spider-Man: No Way Home" and "Cobra Kai." Previously, he collaborated with the Daniels on their A24-released "Swiss Army Man," starring Paul Dano and Daniel Radcliffe. Andy and Brian are the brothers and self-taught martial artists behind the popular YouTube channel Martial Club. They appear in several scenes of "Everything Everywhere" as both actors and stunt doubles, most memorably opposite Michelle Yeoh in the IRS trophy fight. Previously, the siblings worked on Marvel's "Shang-Chi and the Legend of the Ten Rings," with Andy playing the Death Dealer in the film.paste.txt​ --- ## [Why Helicopters Are Used to Film Action Scenes | Movies Insider | Insider](https://www.youtube.com/watch?v=VInlj2bV9u0) Runtime: 9:11 Tags: #cinematography #aerial #stunts **Summary:** Follows camera pilot Fred North as he uses helicopter moves to inject speed and energy into car chases, explosions, and complex action in franchises like _Fast & Furious_ and _Mission: Impossible_.paste.txt​ **Description** Camera pilot and aerial coordinator Fred North doesn't just use his helicopter to get from point A to point B. His chopper has a camera attached to it, operated by a cameraperson, and the ways in which North flies his ship determines the angle of the shots. Camera pilots help add speed and energy to action sequences in movies. Because cars aren't always going as fast as they seem on set for safety reasons, North was crucial for the epic car chases in many of the "Fast & Furious" movies. He can also safely film explosions from the air and could keep up with Tom Cruise and his motorcycle in "Mission: Impossible — Rogue Nation." In Michael Bay's "Ambulance," North worked alongside camera drones to plot out some of the film's most exciting chases.paste.txt​ --- ## [How Disney's Animated Hair Became So Realistic, From 'Tangled' To 'Encanto' | Movies Insider](https://www.youtube.com/watch?v=cvTchBdrqdw) Runtime: 13:59 Tags: #animation #hair #simulation **Summary:** Explores a decade of Disney hair technology, from Rapunzel’s long hair in _Tangled_ to the full texture range in _Encanto_, focusing on new tools for grooming, simulation, and shading.paste.txt​ **Description** The complex helical curl shape seen on Mirabel in "Encanto" is something you haven't seen in an animated Disney movie until now. The blockbuster musical was Disney's first animated movie to feature every category of hair texture, from 1A to 4C. Getting there took a decade of building the animation, simulation, shading, and grooming tools to represent the full range of hair types, colors, and styles. We spoke with four members of the "Encanto" team to find out how they did it: Character Look Development Supervisor Michelle Lee Robinson, Consultant for Afro Colombian Representation Edna Liliana Valencia Murillo, Associate Technical Supervisor Nadim Sinno, and Character Look Artist Jose "Weecho" Velasquez. They help trace the evolution of Disney's 3D-animated hair over the past ten years, from Rapunzel's 70-foot long mane in "Tangled" and Elsa and Anna's braids in "Frozen" to the curly-wavy hair in "Moana" and diversity of textures in "Encanto."paste.txt​ --- ## [How 'No Way Home' Pulled Off Spider-Man's Bridge Fight Against Doctor Octopus | Movies Insider](https://www.youtube.com/watch?v=aqSYUu2uWJQ) Runtime: 10:33 Tags: #vfx #stunts #spiderman **Summary:** Dissects the bridge fight in _Spider‑Man: No Way Home_, showing how Digital Domain’s CG Doc Ock arms integrated with Dan Sudick’s practical gags and Tom Holland’s on‑set stunts.paste.txt​ **Description** "Spider-Man: No Way Home" first introduces legendary Marvel villain Doctor Octopus (Alfred Molina) on a New York City bridge where he faces off against Peter Parker (Tom Holland). Behind the scenes, the cast and crew filmed on a set in Atlanta and the rest of the bridge and skyline were created in part by Digital Domain. The final fight scene was achieved through a close partnership of visual and practical. Because Doc Ock's mechanical arms were completely CG, special effects supervisor Dan Sudick had to make actions like dropping a cement pipe and throwing a car into water barrels look like they had the right amount of force. Then, visual effects supervisor Scott Edelstein and his team had to create entire shots from scratch if the trajectory of a stunt wasn't correct. And while Digital Domain used digital doubles of Spider-Man for some of the more dangerous stunts, Tom Holland still pulled off many of his own moves on set.paste.txt​ --- ## [How Realistic Animatronics Are Made For Movies & TV | Movies Insider](https://www.youtube.com/watch?v=uNIfx0Xddzc) Runtime: 7:12 Tags: #animatronics #creatures #sfx **Summary:** Visits Spectral Motion to show how animatronic puppets like trolls, wolf heads, Demogorgons, and White Spikes are engineered to move realistically and support VFX and actors.paste.txt​ **Description** Spectral Motion has been making animatronic puppets and props for movies and TV shows since 2002. Even if they don’t fully end up in the final shot, they can make for great references for both visual effects artists and the actors in front of the camera. Spectral Motion’s head of animatronics, Mark Setrakian, takes the characters sculpted and painted by the company’s artists and gives them the most realistic movements possible. This has included making giant troll hands compress and handle objects for “Hansel & Gretel: Witch Hunters” (2013), manipulating robotic bits and foam skin to make a wolflike snarl for “Lady in the Water” (2006), and making the Demogorgon’s face petals move on the first season of Netflix’s “Stranger Things” (2016). Advancements in technology allowed Spectral Motion to push the kinds of terrifying movements it gave to the animatronic White Spike puppet who would be acting alongside Chris Pratt and Yvonne Strahovski in “The Tomorrow War” (2021).paste.txt​ --- ## [What 5 Tom Holland Stunts Looked Like Behind The Scenes | Movies Insider](https://www.youtube.com/watch?v=ACEL0WwgdDU) Runtime: 6:51 Tags: #stunts #tomholland #performance **Summary:** Highlights five risky stunts Tom Holland performed himself across _Spider‑Man_ films and _Uncharted_, leveraging his gymnastics background while still collaborating with doubles.paste.txt​ **Description** When watching 2022's "Spider-Man: No Way Home" or "Uncharted," viewers might leave the theater wondering, "Does Tom Holland do his own stunts?" The answer is yes, often. The actor does work with stunt doubles, but his gymnast and dancing background gives him an advantage and helps him to perform aspects of his own stunts. This includes pole-vaulting in 2019's "Spider-Man: Far From Home," swinging through the streets of New York City with Zendaya in "Spider-Man: No Way Home," and climbing up a replica of the Washington Monument in 2017's "Spider-Man: Homecoming." Here’s a look at 5 risky stunts the actor performed himself, including what he called the most difficult stunt of his career.paste.txt​ --- ## [How Batman Movies Pulled Off 6 Batmobile & Batwing Stunts | Movies Insider | Insider](https://www.youtube.com/watch?v=dmhvOKMUnNo) Runtime: 7:24 Tags: #stunts #vehicles #batman **Summary:** Looks back at six standout Batmobile and Batwing stunts, focusing on practical rigs and driving work from _Batman Begins_ through _The Dark Knight Rises_ and beyond.paste.txt​ **Description** On the release of Matt Reeves' "The Batman," starring Robert Pattinson, we look back on six of the superhero's most impressive stunts with his signature rides, from the tank-like Tumbler in "Batman Begins" to the flying Batwing in "The Dark Knight Rises." Find out the creative practical methods that were used to pull off action sequences.paste.txt​ --- ## [How Costumes Are Destroyed For Movies & TV | Movies Insider](https://www.youtube.com/watch?v=cKi00WlJo1c) Runtime: 9:08 Tags: #costume #breakdown #sfx **Summary:** Follows breakdown artist Sarah Blostein as she shows how sweat, dirt, blood, and bullet holes are aged and matched across continuity for projects like _The Boys_ and _Ready or Not_.paste.txt​ **Description** Breakdown artists, sometimes called agers, dyers, or textile artists, work behind the scenes to fake all the damage on a character’s costume. Sarah Blostein has done breakdown work on “The Boys,” “The Strain,” “Ready or Not,” “The Handmaid’s Tale,” and “Station Eleven.” Because movie and TV show scenes are frequently shot out of order, sweat stains and rips have to be replicated. Sarah walked us through how to create convincing fresh and aged blood stains on a shirt, what materials look the most like dirt, and the very specific way to make a bullet hole look realistic.paste.txt​ --- Episodes 31–40 below, in the same Obsidian‑ready format with YouTube links and craft tags.paste.txt​ --- ## [How Frozen-In-Time Scenes Are Shot For Movies And TV | Movies Insider | Insider](https://www.youtube.com/watch?v=OrgbZD2sRnU) Runtime: 8:53 Tags: #vfx #cinematography #editing **Summary:** Explains how filmmakers create “time frozen” sequences using extreme high‑speed cameras, digital retiming, stabilization, and practical frozen‑set tricks, with examples from _X‑Men_, _The Worst Person in the World_, and others.paste.txt​ **Description** As seen in the likes of “Spider-Man” (2002), “The Matrix” (1999), and “The French Dispatch” (2021), movies can make scenes look like they’re frozen in time. The first step is shooting at a higher frame rate to slow the action down as much as possible. In “X-Men: Days of Future Past” (2014) and “X-Men: Apocalypse” (2016), the crew used a camera capable of shooting at 3,000 frames per second to capture time standing still as Quicksilver runs at superspeed. In postproduction, digital tools allowed animators to retime a live-action shot so Quicksilver looks like he’s the only one moving, while stabilizing any subtle movements on any characters who were supposed to be completely still. But movies can also approach these scenes practically. For the Oscar-nominated “The Worst Person in the World” (2021), prop master Hedda Virik created a fake coffee stream, built stands to hold up bicycles mid-ride, and employed stuffed dogs.paste.txt​ --- ## [How Flying Scenes Are Shot For Movies And TV | Movies Insider | Insider](https://www.youtube.com/watch?v=k_Ey8WGtUcE) Runtime: 8:26 Tags: #stunts #rigging #vfx #flight **Summary:** Surveys wire rigs, camera tricks, robotic arms, and digital doubles used to make characters fly, from classic Superman shots to Wanda’s flying in Marvel projects.paste.txt​ **Description** One of the biggest challenges for Hollywood’s stunt performers is creating flight that is both safe and believable. Since George Reeves portrayed Superman in the 1950s, movies and TV shows have used an endless variety of wires, pans, and other rigs to lift actors up high. The best tools depend on the type of flying on-screen. A huge breakthrough came in 1978's “Superman” when a visual effects artist discovered a way to operate the camera so that Christopher Reeve would appear to be flying even when he was lying flat. Today, many of those same wire and camera tricks are still used. However, digital doubles can make even the most dangerous flying tricks possible, while flying moves can be programmed in advance into a robotic arm, as seen in “Black Widow.” Elizabeth Olsen’s stunt double, CC Ice, told us about the many ways both Marvel’s “Avengers: Infinity War” and “WandaVision” made Wanda Maximoff fly.paste.txt​ --- ## [How Marvel and DC Superhero Costumes Evolved in Movies and TV Shows | Movies Insider | Insider](https://www.youtube.com/watch?v=Wkhrw0q5JBo) Runtime: 9:11 Tags: #costumes #superheroes #vfx **Summary:** Tracks superhero costume design from early serials to _The Batman_, highlighting how 3D printing, CGI, and mocap improved practicality, detail, and realism in Marvel and DC suits.paste.txt​ **Description** Robert Pattinson's batsuit in "The Batman" (2022) was the most practical version yet of the iconic hero's batsuit. And it was possible in part due to technological advancements in the past 80 years that have transformed superhero costumes in movies and TV shows. Marvel and DC movies like "Iron Man" (2008) and "Man of Steel" (2013) have consistently utilized the latest technology to make costumes more real than ever. 3D printing, CGI, and motion-capture technology all helped create costumes with greater detail and practicality to craft the realistic superhuman figures we see on-screen. "The Batman" is available to own on digital download from May 23, 2022, and on 4K UHD, Blu-ray, and DVD from June 13, 2022.paste.txt​ --- ## [How The Kung Fu Fight Scenes Were Shot In 'Everything Everywhere All At Once' | Movies Insider](https://www.youtube.com/watch?v=W1pxH3bQZMQ) Runtime: 7:47 Tags: #stunts #fightchoreography #martialarts **Summary:** Breaks down how Timothy Eulich and Martial Club’s Andy and Brian Le choreographed and filmed inventive kung fu fights in _Everything Everywhere All at Once_ within a single warehouse location and tight schedule.paste.txt​ **Description** The fight scenes in "Everything Everywhere All at Once" put a fresh spin on classic kung fu movies. We spoke with stunt coordinator Timothy Eulich and fight choreographers Andy and Brian Le about how the movie's most impressive action sequences came together. Timothy, Andy, and Brian worked with directing duo Daniel Kwan and Daniel Scheinert, aka the Daniels, to plan and execute the film's fight scenes on a tight budget and shooting schedule, shooting almost entirely within the confines of a single warehouse building in Southern California. Here, they talk about the inspirations and references they pulled from in choreographing the action in "Everything Everywhere," from classic Hong Kong movies and Jackie Chan action flicks to break dancing and parkour. Timothy has worked as a stunt coordinator and performer on TV series like "Westworld" and "Stranger Things" and films like "Spider-Man: No Way Home" and "Cobra Kai." Previously, he collaborated with the Daniels on their A24-released "Swiss Army Man," starring Paul Dano and Daniel Radcliffe. Andy and Brian are the brothers and self-taught martial artists behind the popular YouTube channel Martial Club. They appear in several scenes of "Everything Everywhere" as both actors and stunt doubles, most memorably opposite Michelle Yeoh in the IRS trophy fight. Previously, the siblings worked on Marvel's "Shang-Chi and the Legend of the Ten Rings," with Andy playing the Death Dealer in the film.paste.txt​ --- ## [Why Helicopters Are Used to Film Action Scenes | Movies Insider | Insider](https://www.youtube.com/watch?v=VInlj2bV9u0) Runtime: 9:11 Tags: #cinematography #aerial #stunts **Summary:** Follows aerial coordinator Fred North to show how helicopter camera moves add speed, scale, and safety to car chases, explosions, and motorcycle stunts in films like _Fast & Furious_ and _Mission: Impossible_.paste.txt​ **Description** Camera pilot and aerial coordinator Fred North doesn't just use his helicopter to get from point A to point B. His chopper has a camera attached to it, operated by a cameraperson, and the ways in which North flies his ship determines the angle of the shots. Camera pilots help add speed and energy to action sequences in movies. Because cars aren't always going as fast as they seem on set for safety reasons, North was crucial for the epic car chases in many of the "Fast & Furious" movies. He can also safely film explosions from the air and could keep up with Tom Cruise and his motorcycle in "Mission: Impossible — Rogue Nation." In Michael Bay's "Ambulance," North worked alongside camera drones to plot out some of the film's most exciting chases.paste.txt​ --- ## [How Disney's Animated Hair Became So Realistic, From 'Tangled' To 'Encanto' | Movies Insider](https://www.youtube.com/watch?v=cvTchBdrqdw) Runtime: 13:59 Tags: #animation #hair #simulation **Summary:** Charts a decade of Disney hair technology, from Rapunzel’s long hair to the full texture range in _Encanto_, focusing on grooming, simulation, shading, and representation of 1A–4C hair types.paste.txt​ **Description** The complex helical curl shape seen on Mirabel in "Encanto" is something you haven't seen in an animated Disney movie until now. The blockbuster musical was Disney's first animated movie to feature every category of hair texture, from 1A to 4C. Getting there took a decade of building the animation, simulation, shading, and grooming tools to represent the full range of hair types, colors, and styles. We spoke with four members of the "Encanto" team to find out how they did it: Character Look Development Supervisor Michelle Lee Robinson, Consultant for Afro Colombian Representation Edna Liliana Valencia Murillo, Associate Technical Supervisor Nadim Sinno, and Character Look Artist Jose "Weecho" Velasquez. They help trace the evolution of Disney's 3D-animated hair over the past ten years, from Rapunzel's 70-foot long mane in "Tangled" and Elsa and Anna's braids in "Frozen" to the curly-wavy hair in "Moana" and diversity of textures in "Encanto."paste.txt​ --- ## [How 'No Way Home' Pulled Off Spider-Man's Bridge Fight Against Doctor Octopus | Movies Insider](https://www.youtube.com/watch?v=aqSYUu2uWJQ) Runtime: 10:33 Tags: #vfx #stunts #spiderman **Summary:** Dissects the bridge fight in _Spider‑Man: No Way Home_, showing how Digital Domain’s CG Doc Ock arms integrated with Dan Sudick’s practical gags and Tom Holland’s on‑set stunt work.paste.txt​ **Description** "Spider-Man: No Way Home" first introduces legendary Marvel villain Doctor Octopus (Alfred Molina) on a New York City bridge where he faces off against Peter Parker (Tom Holland). Behind the scenes, the cast and crew filmed on a set in Atlanta and the rest of the bridge and skyline were created in part by Digital Domain. The final fight scene was achieved through a close partnership of visual and practical. Because Doc Ock's mechanical arms were completely CG, special effects supervisor Dan Sudick had to make actions like dropping a cement pipe and throwing a car into water barrels look like they had the right amount of force. Then, visual effects supervisor Scott Edelstein and his team had to create entire shots from scratch if the trajectory of a stunt wasn't correct. And while Digital Domain used digital doubles of Spider-Man for some of the more dangerous stunts, Tom Holland still pulled off many of his own moves on set.paste.txt​ --- ## [How Realistic Animatronics Are Made For Movies & TV | Movies Insider](https://www.youtube.com/watch?v=uNIfx0Xddzc) Runtime: 7:12 Tags: #animatronics #creatures #sfx **Summary:** Visits Spectral Motion to show how animatronic puppets are engineered to move believably, enhancing performances for creatures like trolls, wolves, Demogorgons, and White Spikes.paste.txt​ **Description** Spectral Motion has been making animatronic puppets and props for movies and TV shows since 2002. Even if they don’t fully end up in the final shot, they can make for great references for both visual effects artists and the actors in front of the camera. Spectral Motion’s head of animatronics, Mark Setrakian, takes the characters sculpted and painted by the company’s artists and gives them the most realistic movements possible. This has included making giant troll hands compress and handle objects for “Hansel & Gretel: Witch Hunters” (2013), manipulating robotic bits and foam skin to make a wolflike snarl for “Lady in the Water” (2006), and making the Demogorgon’s face petals move on the first season of Netflix’s “Stranger Things” (2016). Advancements in technology allowed Spectral Motion to push the kinds of terrifying movements it gave to the animatronic White Spike puppet who would be acting alongside Chris Pratt and Yvonne Strahovski in “The Tomorrow War” (2021).paste.txt​ --- ## [What 5 Tom Holland Stunts Looked Like Behind The Scenes | Movies Insider](https://www.youtube.com/watch?v=ACEL0WwgdDU) Runtime: 6:51 Tags: #stunts #tomholland #performance **Summary:** Highlights five major stunts Tom Holland performed himself in _Spider‑Man_ films and _Uncharted_, leveraging his gymnastics and dance background while coordinating with doubles.paste.txt​ **Description** When watching 2022's "Spider-Man: No Way Home" or "Uncharted," viewers might leave the theater wondering, "Does Tom Holland do his own stunts?" The answer is yes, often. The actor does work with stunt doubles, but his gymnast and dancing background gives him an advantage and helps him to perform aspects of his own stunts. This includes pole-vaulting in 2019's "Spider-Man: Far From Home," swinging through the streets of New York City with Zendaya in "Spider-Man: No Way Home," and climbing up a replica of the Washington Monument in 2017's "Spider-Man: Homecoming." Here’s a look at 5 risky stunts the actor performed himself, including what he called the most difficult stunt of his career.paste.txt​ --- ## [How Batman Movies Pulled Off 6 Batmobile & Batwing Stunts | Movies Insider | Insider](https://www.youtube.com/watch?v=dmhvOKMUnNo) Runtime: 7:24 Tags: #stunts #vehicles #batman **Summary:** Looks back at six standout Batmobile and Batwing set‑pieces, focusing on the practical rigs, driving, and setups behind action in the Nolan films and other Batman entries.paste.txt​ **Description** On the release of Matt Reeves' "The Batman," starring Robert Pattinson, we look back on six of the superhero's most impressive stunts with his signature rides, from the tank-like Tumbler in "Batman Begins" to the flying Batwing in "The Dark Knight Rises." Find out the creative practical methods that were used to pull off action sequences.paste.txt​ --- ## [How Costumes Are Destroyed For Movies & TV | Movies Insider](https://www.youtube.com/watch?v=cKi00WlJo1c) Runtime: 9:08 Tags: #costume #breakdown #sfx **Summary:** Follows breakdown artist Sarah Blostein as she demonstrates how sweat, dirt, blood, and bullet damage are aged and matched for continuity on shows like _The Boys_ and _The Handmaid’s Tale_.paste.txt​ **Description** Breakdown artists, sometimes called agers, dyers, or textile artists, work behind the scenes to fake all the damage on a character’s costume. Sarah Blostein has done breakdown work on “The Boys,” “The Strain,” “Ready or Not,” “The Handmaid’s Tale,” and “Station Eleven.” Because movie and TV show scenes are frequently shot out of order, sweat stains and rips have to be replicated. Sarah walked us through how to create convincing fresh and aged blood stains on a shirt, what materials look the most like dirt, and the very specific way to make a bullet hole look realistic.paste.txt​ --- Here are episodes 41–50 in the same Obsidian‑ready format with YouTube links and craft tags.paste.txt​ --- ## [How RRR's Moving Train Stunt Was Shot | Movies Insider | Insider](https://www.youtube.com/watch?v=8mWdUkqqapo) Runtime: 8:44 Tags: #stunts #trains #vfx **Summary:** Shows how _RRR_’s train explosion and derailment combined scale models, motion platforms, and flipper‑rigged full‑size cars, alongside classic train techniques from _Lawrence of Arabia_ to _Snowpiercer_.paste.txt​ **Description** Action scenes set on moving trains are rarely filmed on actual moving trains, so crews rely on meticulously planned rigs and simulations. Miniature trains pulled across bridges and blown up, full‑size cars launched with flippers, and cars on motion platforms for constant “forward” turbulence all help sell speed and danger. Wind machines, static stage sets with LED countryside (as in _Bullet Train_), and carefully lit windows complete the illusion of large‑scale train carnage without unsafe real‑world conditions.paste.txt​ --- ## [How 'Modern Warfare II' Became The Most Realistic 'Call Of Duty' Game | Movies Insider | Insider](https://www.youtube.com/watch?v=MimcufVHzi8) Runtime: 9:50 Tags: #games #photogrammetry #performancecapture **Summary:** Visits Infinity Ward to explain how photogrammetry, distressed real gear, performance capture, and scanned miniatures make _Modern Warfare II_’s weapons, operators, and UI elements feel grounded and tactile.paste.txt​ **Description** Developers scan everything from Ghost’s mask to fully costumed operators to import real‑world detail into the game. Costumes and gear are physically weathered and then scanned so wear patterns appear naturally. Even Battle Pass emblems and rewards start as miniatures, giving the game’s cosmetics a physical design lineage.paste.txt​ --- ## [What 12 Keanu Reeves Stunts Looked Like Behind The Scenes | Movies Insider | Insider](https://www.youtube.com/watch?v=I7lYjYnPOyU) Runtime: 12:21 Tags: #keanureeves #stunts #actiondesign **Summary:** Surveys a dozen landmark Keanu Reeves stunts from _Point Break_ and _Speed_ to _The Matrix_ films and _John Wick_ 1–4, emphasizing his training in martial arts, driving, and high‑fall work.paste.txt​ **Description** Across four decades, Keanu has pushed how much action an A‑list actor can safely perform, from wire‑fu in _The Matrix_ to a 550‑foot skyscraper jump in _Resurrections_. The _John Wick_ series expands that dedication with intensive judo/jiu‑jitsu training, stunt driving, trick horse riding, and complex vehicular fights. Later films demand reverse‑180 maneuvers mixed with hand‑to‑hand combat between moving cars, marrying actor prep with cutting‑edge VFX.paste.txt​ --- ## [Why It's So Difficult To Shoot Night Scenes During The Day | Movies Insider | Insider](https://www.youtube.com/watch?v=1ctQIIl1PxY) Runtime: 10:56 Tags: #cinematography #dayfornight #nope **Summary:** Examines Hoyte van Hoytema’s infrared‑plus‑color dual‑camera “day for night” method on _Nope_, contrasting it with older, less convincing techniques used in films like _Lawrence of Arabia_ and _Mad Max: Fury Road_.paste.txt​ **Description** Traditional day‑for‑night often yields flat “movie night” images, with obvious filters and silhouettes. For _Nope_, van Hoytema adapted a rig first used on _Ad Astra_, pairing color and infrared cameras to remap daylight landscapes into believable moonlit vistas. The resulting images preserve sky detail, depth, and desert scale while maintaining tension‑friendly low‑light contrast.paste.txt​ --- ## [How Avatar’s VFX Became So Realistic | Movies Insider | Insider](https://www.youtube.com/watch?v=IPQ5vTqqdgE) Runtime: 12:34 Tags: #avatar #performancecapture #water **Summary:** Details the new underwater performance‑capture stage, dual‑camera head rigs, and advanced facial systems that made _Avatar: The Way of Water_ more lifelike than the 2009 original.paste.txt​ **Description** Unlike the first film’s dry‑for‑wet approach, the sequel used a capture tank that works both underwater and above the surface. Cast members trained to hold their breath so performances could be captured cleanly without bubble interference. Wētā FX leveraged prior innovations from _Hobbit_, _Planet of the Apes_, and _Avengers_ to track over 3,000 facial performances and create more nuanced Na’vi expressions.paste.txt​ --- ## [How Characters Are Made to Look Bigger and Smaller in Movies & TV | Movies Insider | Insider](https://www.youtube.com/watch?v=DbK8JhnqJp4) Runtime: 11:14 Tags: #scale #forcedperspective #cgi **Summary:** Explores forced perspective, scale props, motion‑control, and performance capture used to resize characters from Hobbits and Gandalf to Thanos and She‑Hulk while preserving interaction with real actors.paste.txt​ **Description** Early techniques relied on platforms, oversized props, and careful angles, refined in _The Lord of the Rings_ with complex motion‑controlled forced‑perspective shots. Performance capture then enabled giant digital characters in films like _Avatar_ and _The BFG_, though scale becomes tricky in mixed‑size dialogue scenes. Marvel refined hybrid approaches by combining body doubles, head cutouts, and CG blends for characters like Thanos and She‑Hulk.paste.txt​ --- ## [How Netflix's 'Pinocchio' Innovated Stop-Motion Animation | Movies Insider | Insider](https://www.youtube.com/watch?v=RnFrTQ6WKXY) Runtime: 10:39 Tags: #stopmotion #puppets #fabrication **Summary:** Shows how Guillermo del Toro’s _Pinocchio_ merges traditional armature puppets, geared heads, and 3D‑printed faces to achieve nuanced performances over a three‑year stop‑motion shoot.paste.txt​ **Description** Puppet fabrication supervisor Georgina Hayns and animation supervisor Brian Leif Hansen combine classic ball‑and‑socket engineering with modern printing to customize each puppet. 3D‑printed facial components enable fine emotional variation, while mechanical bodies keep motion tactile. Detailed costuming, cloth simulation, and VFX integration give the miniature world a lived‑in, cinematic feel.paste.txt​ --- ## [How Disney Movie Backgrounds Evolved Over 17 Years | Movies Insider | Insider](https://www.youtube.com/watch?v=L_Zx8j1HYzA) Runtime: 14:18 Tags: #environments #disney #rendering **Summary:** Traces Disney’s CG environments from _Chicken Little_ through _Tangled_, _Frozen_, _Moana_, and _Strange World_, focusing on new tools for vegetation, lighting, water, and atmospheric effects.paste.txt​ **Description** Environment teams developed tree‑growth tools for _Tangled_, then generalized them into full vegetation systems for _Frozen_’s stylized forests and plants. A new renderer powered San Fransokyo’s dense lighting in _Big Hero 6_, while _Moana_ and _Frozen II_ drove water, lava, sand, and foam simulations. _Raya_ and _Encanto_ refined atmospheric fog and mist, culminating in _Strange World_’s highly dynamic, character‑supporting landscapes.paste.txt​ --- ## [How Moving Cars are Faked In Movies and TV | Movies Insider | Insider](https://www.youtube.com/watch?v=NSQDlTupArk) Runtime: 7:10 Tags: #vehicles #gimbals #sfx **Summary:** Visits NAC Effects to show how six‑axis motion bases, rotators, and custom rigs convincingly fake cars, bikes, boats, and aircraft in motion while staying on stage.paste.txt​ **Description** Vehicles or full sets sit on motion platforms that can pitch, roll, and yaw to mimic acceleration, turns, and rough terrain. For _Day Shift_, a pickup on a base plus a rotator sold off‑road spins and 360‑degree turns; other rigs simulate cobblestone vibrations, yacht storms, or airplane turbulence. Similar systems underpin believable helicopter shakes and balloon or creature rides when real motion would be unsafe or impossible.paste.txt​ --- ## [How ‘Rings of Power’ Created Its Extreme Ocean Storm | Movies Insider | Insider](https://www.youtube.com/watch?v=cEC16VtrTfw) Runtime: 10:33 Tags: #water #storm #ringsOfPower **Summary:** Breaks down the Sundering Seas storm in _The Rings of Power_, shot in large water tanks with diggers, dunk tanks, gimballed rafts, pyro, and ILM’s digital augmentation.paste.txt​ **Description** Outdoor horizon tanks in New Zealand and the Dominican Republic let productions choreograph massive ocean storms under controlled conditions. For _Rings of Power_, J.A. Bayona’s team combined practical wave‑making machinery, retractable roofs, and switchable backgrounds with subtle CG waves and lightning. The sequence lands on a roughly 50‑50 split between physical effects and digital extensions to balance realism, safety, and scale.paste.txt​ 1. [https://ppl-ai-file-upload.s3.amazonaws.com/web/direct-files/attachments/139614499/e43ae108-1092-4109-872b-02bd9218fab9/paste.txt](https://ppl-ai-file-upload.s3.amazonaws.com/web/direct-files/attachments/139614499/e43ae108-1092-4109-872b-02bd9218fab9/paste.txt) 2. [https://www.youtube.com/show/VLPLKfWL8IXgKBt2eZVF20Ar9EhSUtPFygS3?season=AllEpisodes&sbp=CgtBbGxFcGlzb2RlcxoAKgtlbGNPeG1DQnIzVUAB](https://www.youtube.com/show/VLPLKfWL8IXgKBt2eZVF20Ar9EhSUtPFygS3?season=AllEpisodes&sbp=CgtBbGxFcGlzb2RlcxoAKgtlbGNPeG1DQnIzVUAB) ---