Mary Ann Skweres lets the fur fly about how the vfx artists on Garfield brought the fat cat to life on the big screen.

In another excerpt from the Inspired 3D series, we step through the collaborative efforts involved in lighting and compositing a shot.

In part one of the Lorenzo visual development gallery, VFXWorld provides an exclusive look at some of Mike Gabriel’s stunning background paintings for this groundbreaking short.

Chris Landreth discusses with Greg Singer many of the artistic and personal issues that have made Ryan such an acclaimed short on the festival circuit this year.

Bill Desowitz chatted with vfx legend Phil Tippett about his move to the director's chair for Starship Troopers 2.

Henry Turner ventures into the storm of vfx that makes up the disaster flick, The Day After Tomorrow.

The Pixel Priestess explores the 3Es of Copenhagen’s 3D Festival -- education, entertainment and enlightenment.

Self-described gaming novice Rick DeMott traveled to the L.A. Convention Center for a crash course in gaming mania that is the Electronic Entertainment Expo — E3.

Alain Bielik confronts the army of vfx artists that created the massive battle sequences for Troy using artificial intelligence, not the Trojan Horse.

Bill Desowitz spotlights the burgeoning vfx and 3D-animated feature work being done by China’s Shanghai SFS Digital Media.

Christopher Harz pays a visit to one of the hottest vfx havens, London’s Soho district, which has attracted a flurry of American movies, thanks to creativity and tax incentives.

Alain Bielik meets the visual effects supervisor behind the hallucinatory images of Blueberry, a French western with a twist.

Find out how to get started on your animated short in our latest excerpt from the Inspired series.

Taking visual cues from Gustav Dore and other classical artists, the look of Shrek 2 has more detail, richness and lighting bounce than its blockbuster predecessor, as evidenced by this exclusive visual development gallery.

J. Paul Peszko talks to the makers of Hoodwinked, the first independently produced 3D animated feature in the Philippines.

Ellen Wolff reveals how ILM was pushed to the digital limit in reimagining the Universal monsters for Van Helsing.

In another excerpt from the Inspired 3D series, Sony Pictures Imageworks’ Jim Berney is interviewed about lighting and compositing.

Bill Desowitz sits down with the pioneering Ray Harryhausen to discuss the continuing influence of his special effects animation on today’s creature features.

Bill Desowitz provides an inside look at NAB2004, including some of the latest digital advancements and a revealing case study of Van Helsing.

Mark Ramshaw looks at the realtime 3D asset and coding trends in the U.K. videogames industry at the moment.