Tatia Rosenthal tells Joe Strike about her journey to make Etgar Keret's $9.99 into a stop-motion feature, which links Israel, the U.S. and Australia.

Jeff Okun tells VFXWorld how a modern technological approach informed the retelling of The Day the Earth Stood Still.

Framestore adds a touch of film-level flair to its CG dinosaurs, as Tara Bennett discovers in her coverage of the popular Primeval TV series.

Andrew Farago reviews four short films: Drux Flux by Theodore Ushev, The Old, Old, Very Old Man by Elizabeth Hobbs, Sandbox by Avi Ofer and The Waif of Persephone by Nick Cross.

You can't keep a good Pinky down, so Keyframe Digital stepped in to handle the second season of Pinky Dinky Doo, and Joe Strike has the scoop.

VFX Supervisor Robert Short tells VFXWorld about raising the bar more graphically for Punisher: War Zone.

In this month's issue of "The Digital Eye," Hank Driskill, technical supervisor at Walt Disney Animation Studios, tells VFXWorld how Bolt impressively achieved the look of a 2D-painted background in CG.

VFXWorld goes undercover with Marc Forster and Kevin Tod Haug to explore the "editorially-driven visual effects" on Quantum of Solace.

For Baz Luhrmann's dreamy Australia, Rising Sun Pictures, Animal Logic and Framstore combine for some crafty vfx, as Thomas J. McLean discovers.

Twenty years ago, Who Framed Roger Rabbit revitalized the animation industry as a bold experiment, looking back as well as forward, as it turned out. AWN marks the historic occasion by reminiscing with Richard Williams, Don Hahn, Tom Sito, James Baxter and Ken Ralston.