Vfx vet Kevin Mannens tells us what distinguishes his new production-based online school for TDs from its competitors.

The Spine premieres this week at the Annecy International Animated Film Festival, and Chris Landreth tells Bill Desowitz all about it.

Bill Westenhofer talks about raising the dino bar for Rhythm & Hues in this new take on the old Sid & Marty Krofft series with Will Ferrell on the loose.

Matt Jacobs of Tippett Studio divulges what it was like opening up hell for the new Sam Raimi shocker. Includes major spoiler images.

Janet Hetherington chats with MJ Chun about how The Sims 3 offers more customization, more animated emotion and more virtual drama in this never-ending life-simulation game.

Pixar's stereoscopic gurus discuss the studio's embrace of Up and the Toy Story franchise in Disney Digital 3-D.

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.

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.

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.