In this months excerpt from Stop Motion, Susannah Shaw continues her look at character design with making your own model.
In this first installment, Greg Singer walks the beat of the Green Screen Show to witness the blood, sweat and tears in bringing the new television series combining live action and animation to life.
Bill Desowitz discusses the groundbreaking Sky Captain and the World of Tomorrow with first-time director Kerry Conran.
Alain Bielik talks with the vfx wizards behind the apocalyptic work done for the Resident Evil sequel.
The third in a three-part series on what one needs to know to be a top-notch storyboard artist, based upon a course Larry Latham taught at Walt Disney TV Animation.
Alain Bielik chronicles the adventure of bringing Exorcist: The Beginning to the big screen for the second time.
Mary Ann Skweres takes on predatory aliens to find out the visual effects secrets behind Alien Vs. Predator.
Mary Ann Skweres chronicles Dr. Paul Debevec's pioneering 3D works as well as his newest short, The Parthenon, which premieres at SIGGRAPH 2004's famed Electronic Theater. The Parthenon takes the viewer on a two-and-a-half-minute virtual journey through both the digitally reconstructed Greek temple and a photorealistic recreation of the sculptures housed in the Duveen Gallery of the British Museum.
The newest excerpt from Susannah Shaws Stop Motion book covers character design, working with modeling clays and making your own puppet.
Starting our Inspired excerpt series from the new book, 3D Short Film Production, authors Jeremy Cantor and Pepe Valencia take readers into the most important part of any 3D film production - the story.
After the recent release of Blueberry, French effects artists deliver yet another visually arresting movie. Alain Bielik uncovers the magic behind Enki Bilals Immortel, a fascinating blend of live-action and CGI.
In our second visual development gallery for Disney's new short Lorenzo, VFXWorld takes a look at the characters conceived by Joe Grant and transformed by Mike Gabriel.
Gerard Raiti goes and scratches up the facts about the effects used to bring Catwoman to the big screen.
Alain Bielik meets the visual effects supervisors of two effects studios to uncover the truth behind Alex Proyas robots revolution.
First in a three-part series on what one needs to know to be a top-notch storyboard artist, based upon a course Larry Latham taught at Walt Disney TV Animation.
Ellen Wolff discusses vertiginous flights of fancy and other superhero feats in Spider-Man 2 with visual effects supervisor John Dykstra.
Henry Turner talks with King Arthur's visual effects wizards to conjure up the truth about the vfx behind the newest cinematic rendition of the legendary myth.
Continuing our excerpts from the Inspired 3D series, Tom Capizzi delves into modeling resources in the first of two parts.
Mary Ann Skweres discusses the VFX challenges of Two Brothers with supervisor Freric Moreau, who required fluid, seamless integration of tigers and actors.