ILM has moved beyond making great photoreal robots and on Terminator Salvation a more efficient and accurate toolset was created for shading, lighting and redering.

The secret to Up's success might be summed up in one word: "Simplexity." Find out why from Pixar's Pete Docter and Scott Clark.

With tonight's premiere of The Goode Family, one of its creators discusses how the series is a counter balance to King of the Hill.

Three years ago, the first Night at the Museum turned to Rhythm & Hues to create its fantastical CG characters. From a playful T. Rex skeleton to talking Easter Island heads, the crew was charged with the responsibility of bringing the exhibits of New York's American Museum of Natural History to life after hours. Now, with the sequel, Battle of the Smithsonian, the plot expands to include the entire Smithsonian in Washington D.C. and Rhythm & Hues has returned to significantly up the stakes.

eyeon Founder Steve Roberts discusses the immense challenge of efficiently tracking, visualizing and managing data and metadata throughout the entire post-production/vfx pipeline.

Joe Strike talks to the creators of DreamWorks' first spin-off series, The Penguins of Madagascar, which has proven to be a hit for Nickelodeon, with more projects in the works.

The VFX stakes were raised for this race against time, Vatican thriller, and Alain Bielik has the scoop.

Star Trek's lead creature designer discusses coming up with Big Red and Polarilla along with a few other surprises.

Recent developments at Homestar Runner include a hiatus for Strong Bad Emails and a Wii title from Telltale Games.

Mitch Suskin and his vfx team brought a greater sense of reality to the fantasy world of Lost this past season.