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Corridor Crew reveals the hand-painted feet hidden in Us

ILM's Beth D'Amato explains the invisible fixes behind major movies, including a shot J.J. Abrams tried to repair himself.

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Corridor Crew Story of October 30, 2026Trari Newsroom

Why this story? 944,180 views so far, and here is what is inside it.

VFX Artists React to Bad & Great CGi 248

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0:30Rio Durant's four arms combine Katy Kartwheel's on-set performance with animated movement.
10:26Beth D'Amato explains how she painted away green poles obscuring an actor's face in Pacific Rim.
14:19Motion-blurred hair against buildings required frame-by-frame painting rather than isolating the original hair.
15:57J.J. Abrams tried removing blood from Tom Cruise's face digitally before handing the shot to D'Amato.
20:00Protective socks in Us become bare feet and sandals through hand-painted digital replacements.
27:12Shawn Kelly explains pitching hockey-style skating for Bonecrusher, supported by rollerblading reference footage.

The socks disappear. In Jordan Peele's Us, protective footwear worn during a fire sequence becomes bare feet and sandals through painstaking digital painting. Beth D'Amato explains how she painted realistic toes frame by frame, avoiding a much larger computer-generated effects process.

That is the revealing thread in Corridor Crew's "VFX Artists React to Bad & Great CGi 248": some movie effects are designed never to register as effects at all.

Filmed in Industrial Light & Magic's Rebel Hideout setting, the episode rotates through three artists rather than keeping one guest on the couch. It also includes a sponsored software segment.

D'Amato, ILM's digital paint supervisor, shows how green poles obscuring an actor's face in Pacific Rim had to be painted away. In another sequence, motion-blurred hair against buildings proved too difficult to isolate, so she painted the hair frame by frame instead.

For Mission: Impossible III, director J.J. Abrams even attempted to remove blood digitally from Tom Cruise's face himself. D'Amato recalls his eventual instruction: "I'm not sending it. Give it to Beth."

Viewers are proposing a recurring segment built around identifying her contributions, and asking for a full episode with her. Several point to the same paradox: her shots would be difficult to pick for an effects discussion precisely because the work is so well concealed.

The other guests expose different kinds of problem-solving. Animation supervisor Matt Shumway explains how Solo's four-armed Rio Durant combines Katy Kartwheel's practical performance with animated arms, then examines Stitch's surprisingly tricky ears.

Shawn Kelly closes with Bonecrusher's highway movement in Transformers. His idea was to make the robot skate like a hockey player. Reference footage of an ILM animator rollerblading in a parking garage helped turn that pitch into the character's leaning, crossover strides.

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What viewers say

New segment idea: "What Did Beth Do Here"

That was wild.
@nathanhartono91See it on YouTube
None of Beth’s shots would have made it onto a regular vfx artists react because none of Beth’s shots trigger “this is a vfx shot”
@TheCalifornianeskimoSee it on YouTube
The painting with Pacific Rim is probably the one that just threw me off the chair the most
@kotm2021See it on YouTube

5 more comments

beth is who they send the shot to when it's too complicated for the computer to do
@not-really-gravelSee it on YouTube
I think it's safe to say we all want a Beth D'Amato full episode!
@VentenaVTSee it on YouTube
I think Beth might be my all time favorite guest. absolutely insane that her whole job is to be flawlessly invisible
@jonathanbates9928See it on YouTube
DUDE studios NEEED to start putting vfx breakdowns out more. This is incredible to see all the little steps into making these scenes
@Frank_D14See it on YouTube
the problem with the gauntlet is that each one of these people deserve there own episode
@error00001See it on YouTube