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.
For the recent Low vs. Diamonds music video, Heart Attack, HAL helps achieve gradual yet detailed aging during a timeless yet intimate lovers' kiss.
The producers and creators of the new French animated feature talk about the transformation of six graphic visions into one artistic frightfest.
Now that Sanctuary has been picked up by SCI FI Channel, the virtual environments hand creature work have been cranked up by Anthem Visual Effects. Tara Bennett finds out how.
Producer James Tucker talks about the new animated series Batman: The Brave and the Bold, which features a Caped Crusader from the Silver Age of comics.
Bill Desowitz gets under the hood of the new Pixar interstitial series with co-directors Rob Gibbs and Victor Navone.
Michael Owens and Geoffrey Hancock explain how L.A. was brought to vintage life with VFX in Clint Eastwood's Changeling.
Ubisoft's Yannis Mallat and Hybride's Pierre Raymond go deeper into their strategic roadmap for convergence.
The creators of the latest SpongeBob special "WhoBob WhatPants?" talk about the many sides of everyone's favorite animated invertebrate.
For Body of Lies, the latest spy thriller by Ridley Scott, Sony Pictures Imageworks goes into stealth mode, but Jack Egan uncovers the vfx secrets.
Tom Sito chats with the veteran animator about his life, his work, his new book, and the time he substituted for a gorilla.
Gil Kenan talks about transitioning from Monster House to City of Ember and all the technological and aesthetic challenges it posed.
Bill Desowitz reports on the launch of last weekend's 5D conference in Long Beach, which offered "an overload of stimulus."