In the first of our four-part series, animation supervisor David Schaub chronicles the process of bringing Robert Zemeckis' The Polar Express from conception to the big screen.
Christopher Harz looks at how the Discovery series Battleground: The Art of War used 3D effects to recreate Alexander the Greats Battle at Gaugamela. Includes QuickTime clips!
Bill Desowitz gets to the bottom of how and why The Polar Express is the next hybrid CGI breakthrough with senior visual effects supervisor Jerome Chen.
King Features tells Janet Hetherington how it has joined forces with Mainframe Ent. to create Popeye's first CGI adventure, Popeye's Voyage: The Quest for Pappy for TV and DVD.
In the first of four installments on art direction for their book Inspired 3D Short Film Production, Jeremy Cantor and Pepe Valencia delve into connect style with story.
Animator-turned director Daniel Robichaud tells Tulay Tetiker about the challenges of making the 3D-animated Pinocchio 3000 as a co-production of Canada, France and Spain.
Bill Desowitz interviews Incredibles director Brad Bird, supervising technical director Rick Sayre and effects supervisor Sandra Karpman about bringing human CG superheroes to the big screen.
Wrapping up the character design section from Inspired 3D Short Film Production, Jeremy Cantor and Pepe Valencia get into the feelings of the characters and how that effects design decisions.
Anil Wanvari and Anand Gurnani explore the blossoming visual effects industry in India, where 70% of the movies utilize digital magic to wow viewers.
In this third installment, Greg Singer provides an overview of the technical workflow and challenges of the Green Screen Show production.
In a VFXWorld exclusive, Motoyoshi Tokunaga tells how he transformed the former Walt Disney Animation (Japan) into the indie Answer Studio.
Is it live-action? Is it animation? Christopher Panzner looks at Alphanim's new rotoscoped series Delta State to find out more about the buzz that's spreading across Europe.
In the fourth part on character design from the book Inspired 3D Short Film Production, Jeremy Cantor and Pepe Valencia look at behavior.
In this months excerpt from Stop Motion, Susannah Shaw describes how to work with companies that make models for you.
Justin Leach chronicles his experiences as 3D CG creator on Ghost in the Shell 2: Innocence in this informative production journal.
Bill Desowitz speaks with ILMs Paul Hill and Henry Preston about the new vfx for the George Lucas directors cut of his seminal THX 1138.
In this second installment, Greg Singer speaks with animation directors of the Green Screen Show to learn how they are integrating animation with the show's live-action improv.
Alain Bielik chronicles the long Alaskan journey filmmaker Timothy Albee took to create his independent short, Kaze, Ghost Warrior. Includes a Quicktime clip!
Ellen Wolff discusses how DreamWorks pulled off its funny 3D-animated fish tale with CG supervisor Kevin Rafferty.
Tara DiLullo looks at what special effects Sci Fi has in store for its highly anticipated miniseries, Farscape: The Peacekeeper Wars.
Karen Raugust looks at how TV shows with paranormal themes rely on vfx to give them a distinct look and drive the story forward.
With more and more TV series delving into the world of forensics, Mary Ann Skweres ventures into the seamy world of crime scene investigation and how visual effects are being used to help solve the case.
Jim Korkis chronicles the birth of animation training, which came about through the studios as they grew into longer and longer productions.