Adam Sandler's tall tales come true in Bedtime Stories, and John Andrew Berton Jr. and Matt Johnson talk about the diverse vfx.
Stu Maschwitz of The Orphanage tells Tara Bennett what it was like collaborating with Frank Miller on Will Eisner's The Spirit, including the creation of a new digital hub called The Bunker.
The Tale of Despereaux marks the beginning of feature animation at Framestore, and AWN provides complete coverage of the breakthroughs.
Janet Hetherington chats with Aaron Sims about his latest work on The Day the Earth Stood Still, Clash of the Titans and Green Lantern.
Tatia Rosenthal tells Joe Strike about her journey to make Etgar Keret's $9.99 into a stop-motion feature, which links Israel, the U.S. and Australia.
Jeff Okun tells VFXWorld how a modern technological approach informed the retelling of The Day the Earth Stood Still.
Framestore adds a touch of film-level flair to its CG dinosaurs, as Tara Bennett discovers in her coverage of the popular Primeval TV series.
Andrew Farago reviews four short films: Drux Flux by Theodore Ushev, The Old, Old, Very Old Man by Elizabeth Hobbs, Sandbox by Avi Ofer and The Waif of Persephone by Nick Cross.
You can't keep a good Pinky down, so Keyframe Digital stepped in to handle the second season of Pinky Dinky Doo, and Joe Strike has the scoop.
VFX Supervisor Robert Short tells VFXWorld about raising the bar more graphically for Punisher: War Zone.
In this month's issue of "The Digital Eye," Hank Driskill, technical supervisor at Walt Disney Animation Studios, tells VFXWorld how Bolt impressively achieved the look of a 2D-painted background in CG.
VFXWorld goes undercover with Marc Forster and Kevin Tod Haug to explore the "editorially-driven visual effects" on Quantum of Solace.
For Baz Luhrmann's dreamy Australia, Rising Sun Pictures, Animal Logic and Framstore combine for some crafty vfx, as Thomas J. McLean discovers.
Twenty years ago, Who Framed Roger Rabbit revitalized the animation industry as a bold experiment, looking back as well as forward, as it turned out. AWN marks the historic occasion by reminiscing with Richard Williams, Don Hahn, Tom Sito, James Baxter and Ken Ralston.
Mac Guff Ligne handled key environmental vfx work on Transporter 3, and Alain Bielik discovers what their mission was.
Doug Chiang, EVP of ImageMovers Digital, discusses starting from scratch with the new studio and the latest performance capture movie from Bob Z, A Christmas Carol.
AWN goes deep into the animation challenges of Bolt, the first Disney animated feature produced under the new John Lasseter/Ed Catmull regime.
South Africa and Egypt lead the way, but quality work can be found in a number of African countries, as Karen Raugust reports.
Chris Perna, lead artist at Epic Games, tells Peter Rizkalla how Gears of War 2 raises the bar with more graphical richness and complex animation.
AWN chats with Pixar vet Angus MacLane about his new short BURN•E, available today with the DVD/Blu-ray release of WALL•E.
Crafting strong narrative in student animation is often overlooked, and Heather Kenyon makes the case for several top programs that have excelled in recent years.
Janet Hetherington digs up some secrets from creator Jay Stephens about The Secret Saturdays, the new comedy-action animated series airing on Cartoon Network.
VFXWorld talks exclusively with Bob Osher and Hannah Minghella, the new heads of Sony Pictures Digital Prods., about their artist-centric approach to vfx and animation.