Bill Desowitz revs up Speed Racer with VFX Supervisors John Gaeta and Dan Glass along with Digital Domain, BUF, CafeFX, Evil Eye, Sony Pictures Imageworks and ILM.
To make Iron Man fight and fly in a convincing suit of armor required a lot of creative and complicated CG work. Thomas J. McLean gets the scoop from ILM and The Orphanage on the first summer blockbuster.
Virtual filmmaking is energizing the industry and leading to a more creative climate for directors and other filmmakers, according to Robert C. Powers (Avatar, Tintin).
Ellen Wolff talks to the animator/illustrator about his reversion to childhood in order to create the artwork for the highly anticipated indie film.
Janet Hetherington chats up three short films that make noteworthy use of VFX, including animated papers, a dancing column and a water man.
Joe Strike visits the fourth annual Red Stick International Animation Festival in Baton Rouge and likes what he sees.
Karen Raugust reports on how the famed AI-based 3D animation system is being adopted by key VFX/animation schools.
Tara Bennett talks Eli Stone with Stargate Digital's Sam Nicholson. That means fire-breathing dragons, collapsing The Golden Gate Bridge, going to the Himalayas and shooting George Michael on greenscreen.
Alain Bielik talks with the creators of the new 3D adventure-comedy in which Prince Charming is a dragon hunter's worst nightmare.
Tara Bennett pays a visit to Nim's Island with CafeFX and others to explore the CG pelicans, sea lions and lizards.
Alain Bielik visits The Ruins with Rising Sun Pictures, which devised a new system for animating the nasty, man-eating vines.
Karen Raugust explores some recent and noteworthy commercials from Framestore CFC, MPC, Digital Domain, Method Studios, RIOT and Radium in search of the creative process behind them.
A beverage, a bank, a drugstore chain, a state lottery, even a nonprofit group targeting business -- all are using animation to get their commercial messages across.
Bill Desowitz recently caught up with Sheena Duggal of Sony Pictures Imageworks to discuss the promotional 3D short she directed about the Chicago Spire, the towering, twisting, opulent residential development project.
Russell Bekins talks to the creators of Horton Hears a Who! about adaptation, proprietary algorithms, and the latest Who-ville fashions (with commentary by the Grinch).
With this week's release of Tin Man on DVD, Tara Bennett caught up with Anthem Visual Effects about efficiency, mobats and going to town on Central City.
Andrew Farago talks to series creator Darwyn Cooke and Voice Director Andrea Romano about the creation of the new Justice League feature.
Alain Bielik tames the prehistoric beasts in 10,000 BC after speaking with the vfx vets at Double Negative and MPC.
Eddy Wong of Menfond tells Tara Bennett about the VFX thrills in Stephen Chow's latest Hong Kong actioner, CJ7.
VFX shots in the first half of the strike-interrupted fourth season of Lost played an important -- but supporting -- role. Karen Raugust gets the scoop from VFX Supervisor Mitch Suskin on the abbreviated season.
Tara DiLullo Bennett gets the scoop on Vantage Point: a low-key political thriller in which the vfx melt into the background.
BUF Compagnie is back with Michel Gondry on Be Kind, Rewind, and Alain Bielik is on the scene to find out what new vfx wrinkles are in store.
Tara DiLullo Bennett tackles the Super Bowl spots once again, this time speaking with Filmworkers Club, Framestore NY, the Mill, ka-chew! and Method.