ActionVFX

ActionVFX Production-quality VFX assets, 3D models, practice footage, & professional courses for VFX artists & creative professionals who 𝐌𝐚𝐀𝐞 𝐈𝐭 π‘πžπšπ₯. πŸ”₯ 𝐌𝐚𝐀𝐞 𝐈𝐭 π‘πžπšπ₯.
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ActionVFX wants to provide you with visual effects assets that help you achieve the most realistic results. We believe in that goal so much that we’ve decided to make it a part of our brand. Our identity. A tagline synonymous with our relentless pursuit of quality. Why? Well, two reasons.

1️⃣ Realism is the primary goal of VFX, and our products exist to help you achieve realistic results.

2️⃣

Completing a VFX shot is hard work. We get it. And having an idea is simple, but executing it isn’t as easy. ActionVFX provides compositors with everything they need to make their idea a reality. We help you 𝐌𝐚𝐀𝐞 𝐈𝐭 π‘πžπšπ₯.

09/04/2026

Photogrammetry has one weakness Gaussian splats don't: it turns fur, thin objects, and reflections into broken mesh.

Splats skip the mesh entirely. They're built from millions of tiny ellipsoids, and something called spherical harmonics tells each one what color to show depending on the angle you're viewing it from. That's why they handle reflections photogrammetry never could.

Clinton Jones (Pwnisher) spent years shooting photogrammetry before splats changed his mind. Now he's teaching the full pipeline in a new ActionVFX Academy course: capture with a phone, DSLR, or drone, process into a splat, then bring it into Unreal Engine, Nuke 17, or After Effects.

Corridor Digital's Niko Pueringer and Sam Gorski break down how they're using splats and scans in their own pipelines too.

Pre-orders are now open.
https://bit.ly/gaussiansplatting

09/03/2026

The best thing you can learn from a VFX supervisor isn't a decision. It's why they almost made a different one.

Compositors only ever see the finished call. Keep this take, cut that shot, push the grade further. The reasoning behind it stays locked in someone else's head.

That's what stood out to Federico, a Nuke compositor at BigHugFX, about Eran Dinur's VFX Supervisor Masterclass. Watching an Emmy winner walk through his own shots and admit which choices he'd get wrong, and why.

If you're trying to grow into that role, study finished work all you want. But look for the people willing to show you where they nearly went wrong. That's where the actual judgment lives.

If you want that kind of access to how a supervisor actually thinks, the Masterclass is worth a look β†’ https://bit.ly/4z8Jenc

Six months ago, ActionVFX had one course. Today it's a lineup of instructors who've done the job at the highest level wi...
09/02/2026

Six months ago, ActionVFX had one course. Today it's a lineup of instructors who've done the job at the highest level with lessons that cover the new way studios are working.

Eran Dinur, Emmy winner, two-time VES Award recipient, built the VFX Supervisor Masterclass to teach the part no film school covers: running a shot from bid to delivery, reading a room of directors and producers, catching problems before they cost you a week.

Clinton Jones (Pwnisher) brought his Gaussian Splatting & Photogrammetry course to a community of thousands of 3D artists who've been asking how to actually use the technique in production, not just admire it online.

Allan McKay, almost 30 years in the industry, credits at ILM and Blur Studio, a decade spent interviewing VFX recruiters and studio leads on his own podcast, used everything he learned from those conversations to build The New VFX Career Playbook, on what actually makes a studio call an artist back. All completely free.

Working comp artists trying to stay sharp.
Aspiring artists trying to break in.
Filmmakers who've never touched a node graph but need professional VFX.
That's who's showing, that's who we built it for.

ActionVFX helped build your shots, now we're here to build your career.

09/01/2026

Master leadership and on-set decision-making strategies from an Emmy and VES Award–winning VFX Supervisor.

The difference between a great compositor and a VFX Supervisor isn't technical skill. It's everything nobody taught you, reading a script for VFX risk, surviving a bidding call, keeping a director's trust when a shot isn't landing.

Eran Dinur has done that job on Marty Supreme, Hereditary, Uncut Gems, The Wolf of Wall Street, and The Greatest Showman. His new course breaks down how, using real case studies from those sets instead of theory.

Six modules, 27 lessons: supervision models and team roles, the full VFX pipeline, core techniques, pre-production and bidding, on-set command, and post through final delivery.

08/28/2026

You can find a hundred videos showing off Gaussian Splats. You can't find many that show you how to actually use them on a job.

Clinton Jones (Pwnisher) built something different: a full production pipeline, not a tutorial. Five modules, and by the end you're not just capturing objects, you've got a custom, production-grade 3D asset library and a working pipeline you can run on your next shoot.

What you walk away with:
β†’ Field capture techniques for anything β€” a gas can, a tank, an entire mountain range, using radial, stereo-pair, drone grid, and void setups
β†’ How to process raw scans into clean radiance fields and photogrammetry meshes, and strip out floaters and artifacts
β†’ AI de-lighting, so your scanned assets can be lit dynamically instead of looking baked-in
β†’ Direct pipeline integration: native SplatRender nodes in Nuke 17, level sequences in Unreal Engine, compositing in After Effects
β†’ Case study breakdowns from Niko Pueringer, Sam Gorski, and Mark Ginther on how splats and scans are already running in production

No prior scanning experience required, if you can shoot with a phone or DSLR, you're qualified to start!

Pre-Order Now: https://bit.ly/gaussiansplatting

You also get Clinton's own field datasets to practice on, on-set capture cheat sheets, and ready-to-use project templates for Unreal, Nuke, and After Effects.

You can find a hundred videos showing off Gaussian Splats. You can't find many that show you how to actually use them on...
08/27/2026

You can find a hundred videos showing off Gaussian Splats. You can't find many that show you how to actually use them on a job.

Clinton Jones (Pwnisher) built something different: a full production pipeline, not a tutorial. Five modules, and by the end you're not just capturing objects, you've got a custom, production-grade 3D asset library and a working pipeline you can run on your next shoot.

What you walk away with:
β†’ Field capture techniques for anything β€” a gas can, a tank, an entire mountain range, using radial, stereo-pair, drone grid, and void setups
β†’ How to process raw scans into clean radiance fields and photogrammetry meshes, and strip out floaters and artifacts
β†’ AI de-lighting, so your scanned assets can be lit dynamically instead of looking baked-in
β†’ Direct pipeline integration: native SplatRender nodes in Nuke 17, level sequences in Unreal Engine, compositing in After Effects
β†’ Case study breakdowns from Niko Pueringer, Sam Gorski, and Mark Ginther on how splats and scans are already running in production

No prior scanning experience required, if you can shoot with a phone or DSLR, you're qualified to start!

Pre-Order Now: https://bit.ly/gaussiansplatting

You also get Clinton's own field datasets to practice on, on-set capture cheat sheets, and ready-to-use project templates for Unreal, Nuke, and After Effects.

We built 4 Arnold shaders for pyro VDBs. Free until Aug 28th. πŸ”₯Here's what's in it:β†’ 4 Arnold shaders, fully built node ...
08/26/2026

We built 4 Arnold shaders for pyro VDBs. Free until Aug 28th. πŸ”₯

Here's what's in it:
β†’ 4 Arnold shaders, fully built node networks, you can customize the fire and smoke
β†’ 4 single-frame pyro VDB samples to test them on immediately
β†’ Just download and go

Normally you'd have to build these node networks yourself from scratch. We did it for you.

Grab them before Aug 28th:
https://bit.ly/4gRDxmj

P.S. Bigger release coming later this week. Follow me or ActionVFX so you don't miss it.

The most surprising thing about bringing AI into a studio pipeline? How much Photoshop still matters.That's what senior ...
08/19/2026

The most surprising thing about bringing AI into a studio pipeline? How much Photoshop still matters.

That's what senior compositor Doug Hogan told the Allan McKay podcast after months of running ComfyUI alongside traditional compositing work. "The good old compositing paint skills are so relevant," he said.

Where AI is pulling real weight: cleanplating. Doug built a local workflow using SAM3 for segmentation and LTX for inpainting, no cloud costs, no more pulling wires and rigs out frame by frame. Roto is getting close to Cryptomatte-level object isolation on live plates too.

Where it still loses: fire and water sims, where years of CG development still beat the newer models, and small one-off fixes, where AI regenerates the whole shot just to change one detail, slower than painting it out by hand.

His warning for anyone claiming AI hands you "perfect, photorealistic" output out of the box: real delivery means EXR multipasses, depth, albedo, spec, normal. A flat MP4 doesn't cut it.

Full breakdown: https://www.actionvfx.com/blog/how-a-senior-compositor-uses-comfyui-in-post-production-doug-hogan-allan-mckay-podcast

08/18/2026

Master leadership and on-set decision-making strategies from an Emmy and VES Award–winning VFX Supervisor.

The difference between a great compositor and a VFX Supervisor isn't technical skill. It's everything nobody taught you, reading a script for VFX risk, surviving a bidding call, keeping a director's trust when a shot isn't landing.

Eran Dinur has done that job on Marty Supreme, Hereditary, Uncut Gems, The Wolf of Wall Street, and The Greatest Showman. His new course breaks down how, using real case studies from those sets instead of theory.

Six modules, 27 lessons: supervision models and team roles, the full VFX pipeline, core techniques, pre-production and bidding, on-set command, and post through final delivery.

Pre-Orders Now Open: https://bit.ly/4z8Jenc

08/14/2026

The difference between a great compositor and a VFX Supervisor isn't technical skill. It's everything nobody taught you, reading a script for VFX risk, surviving a bidding call, keeping a director's trust when a shot isn't landing.

Eran Dinur has done that job on Marty Supreme, Hereditary, Uncut Gems, The Wolf of Wall Street, and The Greatest Showman. His new course breaks down how, using real case studies from those sets instead of theory.

Six modules, 27 lessons: supervision models and team roles, the full VFX pipeline, core techniques, pre-production and bidding, on-set command, and post through final delivery.

If you're ready for that next step, pre-sale is live today!
Pre-order here: https://bit.ly/4z8Jenc

Link in the comments.

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