Category: AWN Profiles
This month in the Animated Scene, Joseph Gilland looks at the facing extinction of hand-drawn special effects animation.
Alain Bielik unmasks the 3D tricks for blowing up London and other terrorist activity in the explosive political thriller, V For Vendetta.
Tara DiLullo talks with Tippett Studios Tom Schelesny about the transformation vfx that transpire in Disneys The Shaggy Dog.
In this months Animators Unearthed, Chris Robinson profiles the influences behind Theodore Ushevs Tower Bawher.
Filmmakers are always raising the bar on what vfx artists need to create, especially in the area of photorealism. Janet Hetherington chats with professionals about the newest mandatory effect: global illumination.
Karen Raugust looks at how animators are increasingly turning to venues such as print publishing and mobile phones to debut properties ultimately destined for film and television.
Bringing a new series to air for preschool children is never childs play. Janet Hetherington chats with Cathy Chilco about how Wilbur, a show featuring a little calf who loves books, moooved up the pitching post to be a top pick of the CBC and Discovery Kids.
ILM visual effects supervisor Scott Farrar discusses the challenges and complications of handling crowd scenes with lots of furry creatures in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.
Joe Strike looks into the anatomy of a development exec who are they and how did they get there?
Alain Bielik chats with Bill Taylor and Syd Dutton of Illusion Arts about the invisible VFX for Casanova.
Greg Singer sat down with Drew Carey in October of last year to discuss his experience of creating Drew Careys Green Screen Show.
Joe Strike sat down and talked with Heinz Edelmann, the driving creative force behind the Beatles animated feature Yellow Submarine, who spoke about his recent School of Visual Arts Masters Series Award as well as his career and art.
Ellen Wolff talks with Sony Imageworks Pete Travers about launching Zathura into cinematic outer space.
Joseph Gilland looks into how artists integrate various design styles into one cohesive animated feature.
John Cawley speaks with comic artist Jamie Hewlett about his and rocker Damon Albarns creation of the animated personas of Gorillaz.
Henry Turner talks to famed visual designer Syd Mead about his influential work on Blade Runner, old school vs. digital tools and the luxurious SUD.
Joe Strike continues his talk with historian and filmmaker John Canemaker, who speaks about his many influences.
Beginning a three-part series, Joe Strike spoke with famed animation historian and filmmaker John Canemaker about his early career and how he got into animation.
Christopher Harz explores how Double Edge Digital provided 3D assistance to The Art of War: Battle of the Bulge.
In honor of the last Star Wars movie, Episode III Revenge of the Sith, VFXWorld concludes its three-part series with an in-depth look at the making of the newest villain, the CG General Grievous.
This month's Digital Eye has Peter Plantec giving the down low info on the big visual effects to come in 2005.
Rick DeMott investigates the world of low budget genre films and discovers that visual effects are making it easier and cheaper to do independent productions.