Ryan Lesser tests the new 3ds Max 9 and discovers several animation improvements and VFXWorld is the first to post a review worldwide.
Bill Desowitz talks to Jason Spencer-Galsworthy about supervising the Toad on Flushed Away and working at Aardman, PDI and DreamWorks.
Adrian Pennington chats with Peter Lord, Aardman co-founder and producer Flushed Away, on the companys adventures in CG.
John Cawley looks at how, in a matter of a few years, TV animation production has moved to rely on Flash more and more as a costing alternative.
Karen Raugust looks into how major general-market distributors, retailers and studios keep an eye on Christian-themed animation sector.
Bill Desowitz discusses animation, voice acting, motion capture and the convergence of movies and games with Andy Serkis.
With the growing ease of CG production, Joe Strike charts the growth in computer-generated 3D productions on TV in North America.
John Cawley charts the changing landscape of Saturday morning animation programming in the U.S., which used to be the primetime for toons on TV.
Hock Wong traveled various Asian countries, such as Singapore, Taiwan, Malaysia, Thailand, China and Indonesia, to find out more about how Asian governments are lending helping hands in the animation boom across the continent.
Bill Desowitz asks David Bowers and Sam Fell what it was like their first time out as feature directors on Flushed Away.
Taylor Jessen reviews five short films cNote by Chris Hinton, First Flight by Kyle Jefferson and Cameron Hood, Tragic Story with Happy Ending (Histica Trica com Final Feliz) by Regina Pessoa, Puppet by Patrick Smith and Shipwrecked by Frodo Kuipers. Includes QuickTime movie clips!
Carolyn Giardina reports on the growing popularity and importance of the eDIT 9. Filmmaker’s Festival in Frankfurt, Germany.
Bill Desowitz talks to supervising animator Simon Otto about marrying the two styles at Aardman and DreamWorks in Flushed Away, which marks the formers first 3D-animated feature.
In this month’s column, Dr. Toon profiles independent Midwest animation company Perennial Pictures, looking at the growing trend of toon production without borders.
Joseph Gilland questions the demise of 2D/3D debate and wonders where animation is headed for the next generation of artists, in this months The Animated Scene.
In the ninth and final Open Season production diary, Sony Pictures Animation goes into the technical ins and outs of rendering and lighting as well as final thoughts on the production.
In this months Career Coach, Pamela Kleibrink Thompson makes an impression on the reader about business cards.
Bob Swain uncovers the truth behind Helsinki-filmis The Emperors Secret, the first CG animated feature from Finland.
In the seventh Open Season production diary, Sony Pictures Animation chronicles how it pushed the boundaries of 3D character animation performance.
In the sixth Open Season production diary, Sony Pictures Animation chronicles the layout process under the supervision of James Williams.
Andrew Osmond chronicles the making of U.K.-based BreakThru Films and Poland-based Se-Ma-For studios dark, stop-motion version of Peter and the Wolf.
In the fifth Open Season production diary, Sony Pictures Animation chronicles various production design challenges and the crucial influence of artist Eyvind Earle.
Karen Raugust investigates a Purdue University research project using 3D animation and virtual reality to teach math concepts to hearing impaired school children.