Texture in Film

You have a beat and a melody idea, but there is something lacking, something to tie the piece together, to add interest and mood. This is it. Texture and Pulse is an essential tool that will add space, ambience, rhythm and pulse to the bits in between your music.

PROFILM™ - Professional Filmic Looks. Turn your projects into a contemporary-styled film with PROFILM™ from Pixel Film Studios™. This collection of 30 filmic looks from Final Cut Pro X can instantly give your video a more cinematic feel. Apply color, darken shadows and add 35mm grain to transform your footage into a Hollywood film.

The software developer Solid Angle announced the launch of Arnold (C4DtoA) 3.3.10 for Cinema4D. This update uses Arnold 6.2.1.1 and is a minor feature release which adds UDIM support to texture baking and bug fixes to the the Asset Browser, X-Particles trails and Explosia Fx volume renders.

Josef K wakes up in the morning and finds the police in his room. They tell him that he is on trial but nobody tells him what he is accused of. In order to find out about the reason of this accusation and to protest his innocence, he tries to look behind the facade of the judicial system. But since this remains fruitless, there seems to be no chance for him to escape from this Kafkaesque nightmare.

Dennis Clegg is in his thirties and lives in a halfway house for the mentally ill in London. Dennis, nicknamed "Spider" by his mother has been institutionalized with acute schizophrenia for some 20 years. He has never truly recovered, however, and as the story progresses we vicariously experience his increasingly fragile grip on reality.

We’re excited to present our very first Exclusive Character Masterclass! With over 20 hours of expert training, you’ll learn how to make a full character bust for production. Every single step is shown in real time without time-lapses, from the first brushstroke in ZBrush to the final shader tweaks and lighting in Blender.

When Eraserhead premiered in 1977, it didn’t just mark the beginning of David Lynch’s singular career—it rewired the language of underground cinema. A nightmarish journey through industrial decay, existential dread, and fractured identity, the film remains one of the most haunting works ever committed to celluloid. Shot in stark black and white, Eraserhead unfolds like a fever dream—where sound, space, and emotion bleed into one another in an uncanny, hypnotic dance. But what truly sets Eraserhead apart, even beyond its disquieting visuals, is its sound. David Lynch, working closely with sound designer and technician Alan Splet, constructed an aural landscape as vital and disturbing as any of the film’s images. The soundtrack is not built around traditional music, but rather an evolving tapestry of ambient industrial noise: distant hums, howling winds, metallic drones, mechanical grinding, and eerie silences that stretch time to its breaking point. Splet and Lynch manipulated everyday sounds—recording radiators, engines, air currents—to create a dense sonic fog that reflects the inner turbulence of the protagonist, Henry Spencer, and the collapsing world around him.