Celebs know that their names are worth millions, so some stars launch personal brands whilst others buy into fast food chains. Here are 9 celebrities who invested in fast food chains to keep the pay-checks flowing. 1. Rick Ross Loves His Wings! Devoted Chicken Wing fan, Rick Ross, not only mentions it in one of his songs, but also bought Wingstop locations in Memphis and Miami. He wanted to enjoy his favorite wings in his favorite city! 2. Kim’s King Isn’t Kanye Kanye West bought his wife, Kim Kardashian, 10 European Burger King branches as a wedding present! He thought it would be a great venture for Kim once she’s done with reality TV. 3. Magic Johnson Created Jobs ... https://www.youtube.com/watch?v=Guv4vyPu8Y8

Here at 'Beta Digital' we spend most of our time and budget fixing silly mistakes that were made during filming. Join us in this funny mockumentary about the VFX of 'Black Panther' and find out what exactly went wrong and, more importantly, how the boffins at 'Betta' fixed it! Please leave a like if you enjoyed this video and don't forget to let us know what other movies would you like us to make a funny VFX video about. Enjoy :) Read more here: www.famefocus.com Follow us on Twitter: https://twitter.com/focusfame ... https://www.youtube.com/watch?v=JnzxePXe0KY

Get some cool drag & drop VFX here! ► https://www.famefocus.com/go/getvfx/ ◄ Don't forget to visit OUR SHOP here! ► https://fame-focus-vfx.creator-spring.com/ ◄ The Little Mermaid is the latest in the series of Disney remakes that attempt to bring the original stories into the real world whilst at the same time making them more politically and socially acceptable. Unfortunately this "Under The Sea" remake was released the year after Avatar: Way Of Water, so as far as water simulations, fluid dynamics, and specular and diffuse reflections were concerned it was always going pale by comparison. Like the music in this video? I made it! Support me by getting it on any of these sites :P Get it on iTunes: ► https://apple.co/2ENGfu9 ◄ Listen on Spotify: ► https://spoti.fi/3boTfCl ◄ Buy it on Amazon: ► https://amzn.to/2QVJZfk ◄ However, that is not to say it didn't have some impressive visual effects. Framestore, MPC, Rodeo FX, Union VFX, and Vitality VFX all worked together on this film with Secret Lab helping with cosmetic and clean-up work. One of Framestore's first challenges was building the wide variety of 3D coral that was required. This started with concept designs and a number of 3D scans along with reference photography. From this reference it became clear that modeling and sculpting such complex shapes by hand was not going to be the most efficient or adaptable method to build the coral and they needed a more automated way to generate a large volume of different coral species so they developed a number of tools to generate the coral procedurally. These coral generation tools enabled the artists to modify coral shapes efficiently and with a high level of control. Framestores animators had the challenge of translating the original 2D characters Sebastian, Scuttle and flounder into photoreal 3D characters. Sebastian was particularly difficult because in the original 1989 animated film they brought life to the character using exaggerated, humanised expressions. But a real crab is so minimal that it was hard to emulate that same emotional character with just a set of eyes and a hard shell body. Scuttle was slightly more straightforward. The animation team collaborated closely with Walt Disney Studios to establish the final look for Scuttle, creating a feather system within Framestore’s groom tool, Fibre. While earlier renditions retained the cartoonish aspect from the original animation, the final version settled on a much more realistic look, and (just as it did with Sebastian) this made emulating the same wacky character from the original film especially difficult. These assets were shared between all the VFX vendors including Rodeo FX Rodeo had to animate them to remain as faithful as possible to real animals whilst expressing the wide range of emotions given in the performance of the voice actor behind them. This required complex and delicate rigs and in-shot animations to carefully render the screen time of each character. Different approaches were developed to express emotions through pincers, extra legs or wings. The CG characters also had to be anchored in their environment, be that by adding CG dust on land, or clever framing, or adding shadows and reflections, or CG bubbles. Rodeo also had to deal with another challenge altogether: water effects. Some scenes required a full CG environment, working with practical boat and creating the sea surrounding them, and other sequences had them add CG ships and more texture and movement to the water. The scenes involving Ariel were largely filmed with Bailey in a variety of rigs against bluescreen, with the idea that everything else about the character was computer-generated only her live-action head and arms would be retained in the final shots. And of course, for some shots she was a full CG digital double. But before they could get to the bluescreen filming portions of the photography, they first had to go through months of methodical pre-planning, pre-visualization and an extremely extensive choreography process. Choreographers Joey Pizzi and Tara Nicole Hughes created the movements for the sea creatures. They started by watching documentaries like "Blue Planet" and literally auditioning particular types of sea creatures whose bodies naturally lent themselves to dance. (...) #thelittlemermaid #thelittlemermaid2023 #ariel #disney #vfx #movie #behindthescenes #trending #videooftheday #makingof #moviescene #film #filmmaking #visualeffects #cgi #vfxbreakdown #review #bts #beforeandafter #moviescene #movie #disenymovies #classicmovie #remake #thelittlemermaidbts #didyouknow #interesting #celebs #celebrities #thelittlemermeidmakingof #hallebailey #melissamccarthy The above ActionVFX link contains a Special Fame Focus Discount. We also earn an affiliate percentage of each purchase. Read more here: www.famefocus.com Follow us on Twitter: https://twitter.com/focusfame ... https://www.youtube.com/watch?v=dIwhLPsIyQI

After hearing rumors that Tom Cruise is planning to take a film crew into space to film some scenes for Mission Impossible 8, we decided we'd take a look into how VFX in space films has changed since the first Sci-fi film ever, "Le Voyage Dans La Lune" in 1902 up to present day. Like the music in this video? I made it! Support me by getting it on any of these sites :P Get it on iTunes: ► https://apple.co/2ENGfu9 ◄ Listen on Spotify: ► https://spoti.fi/3boTfCl ◄ Buy it on Amazon: ► https://amzn.to/2QVJZfk ◄ 1902. In "Le Voyage Dans La Lune" or "A Trip To The Moon" director George Melies used multiple VFX techniques throughout the film. For the scene where the astronomer's telescopes transform into stools and the Selenites explode into a puff of smoke he used the Substitution Splice or Stop Trick technique. This technique requires the camera operator to stop filming and maintain the framing long enough for something on set to be changed, added, or removed. 1950. During the years between 1902 and 1950, innovation within the movie industry continued. Sound, color, the blue screen method, and traveling mattes were just a few of the advances that were achieved during this time period and despite two world wars, the great depression, and the atomic bomb, the VFX industry continued to evolve and grow, as did our interest in space. One of the great things about Sci-Fi films is that the filmmakers have the chance to imagine interesting ways of achieving things that mankind has yet to achieve, and then they have to somehow imagine some way of portraying them on screen. 1968. Throughout the 1950s and indeed most of the 60s, space films pretty much carried on the same, there were different plots, some comedy, some romantic and some just straight Sci-FI but all following the same track of unconvincing model spacecraft hanging on cables and actors either acting weightless or conveniently having a gravity producing device onboard, this was so, until 1968 and Stanley Kubrick's 2001: A Space Odyssey. In this film, Kubrick pushed the VFX team to improve and perfect methods they already used but to also imagine and invent new ones. 1977. During the rest of the late 60s and early 70s space movies pretty much emulated what had happened after Destination Moon in the 50s, even though models were getting more and more realistic and electronics and computers began to become more widely used, filmmakers were concentrating less on making outer space realistic and more on creating fantasy worlds. Some of these fantasy worlds were intelligent, like Planet Of The Apes, others were humorless comedies like Dark Star, and others, well, others had Sean Connery in a red diaper with knee-high leather boots and a ponytail. 1995. With Space Science Fiction films, people ... https://www.youtube.com/watch?v=O4eliQe9gXw