In celebration of April Fool’s, the Career Coach looks at all the wisdom written about foolishness and applies it to career matters.

Karen Raugust looks into how HIT uses direct-to-video releases to establish a hook for promotions and product extensions.

Marisa Materna talks with the artists behind Gang of Seven, a collective of animators who have pooled their talent to form their own privately owned studio.

In Part 3, Christopher Panzner focuses on new financing issues as he looks at how independent producers have to be a vertically-integrated individual as well as a little of a cowboy to survive in the industry.

Bruce Shutan reports that it was back to basics for the 2005 Super Bowl spots, which continued the trend of seamless vfx.

Karen Raugust looks into how studios are reevaluating licensing strategies in the face of toy industry struggles.

Alain Bielik uncovers the demonic inspirations and digital challenges of bringing Hellblazer to the big screen as Constantine.

Alain Bielik speaks with ILM and Tippett Studio about raising the digital bar when it comes to cartoony CG antics in Son of the Mask.

Christopher Panzner chronicles the ride taken to bring The Magic Roundabout to the big screen in CG.

In the second part of our Polar Express production diary, animation supervisor David Schaub chronicles the performance capture and "MoCap/Anim" processes.