Continuing our excerpts from the Inspired 3D series, Keith Lango presents part two of a two-part tutorial on lip-sync and facial animation.
Continuing our excerpts from the Inspired 3D series, Keith Lango presents part one of a two-part tutorial on lip-sync and facial animation.
Weta senior animator Jason Schleifer talks about what it was like going Gollum for the landmark Lord of the Rings trilogy.
A banjo-strumming, high-stepping Pixar short marks a turning point for traditional animator Bud Luckey the artist responsible for designing Woody.
Continuing our run of excerpts from the Inspired 3D series, David Parish, in part one of a two part article, addresses the dead give-aways between the real world and the CG world.
Michael Ford and Alan Lehman take us through the step-by-step process of planning the setup of a 3D character. While these steps may sound time consuming the authors assure us it will pay off in the end! The third of several excerpts from the book, Inspired 3D Character Setup.
Sarah Baisley surveys industry insiders about what innovations they see in animation and visual effects.
Mike Young gives Sarah Baisley a step-by-step process of how his studio brought a lovable bunch of barnyard animals to CG life in Jakers! The Adventures Of Piggley Winks.
Fluid's Michael King, with contributions from Seth Piezas and Michael Fu, shares details on CGI pipeline organization.
This excerpt from Kyle Clarks Inspired 3D Character Animation explores how to convey emotion through posing and staging.
Dan Gregoire, JAK Films visualization effects supervisor on Episodes II and III, writes about state of previsualization on the Star Wars prequels.
With previs as one of the hot topics in visual effects these days, Christopher Harz inspects its roots in animation and gaming.
Visual effects veteran Michael Fink charts the history of previsualization. Includes QuickTime previs clips!
Rick Baumgartner talks with the VFX artists behind TV series like Enterprise and CSI about how they come up with big screen wizardry on small screen budgets.
Fred Patten interviews Cliff Galbraith, Fluorescent Hill, MK12, Moneyshots, Girdwood Partners and Zoic Studios to find out more about the role of animation in music videos.
Loni Peristere discusses how he and three other partners created a new effects studio for television, which now works on such hits as Firefly and Buffy the Vampire Slayer.
Panique au Village "The Cake" caused a riot of laughter at Annecy 2001 where it won for best TV program. Now this certifiably crazy show is coming to television. Philippe Moins reports on the insanity.
Annick Teninge profiles Sparx*, one of France's leading CG studios that seems to be following in the path of the U.S. majors -- turning commercial and service work success into short film success and then moving into the feature realm.
Pamela Kleibrink Thompson sits down with co-visual effects supervisor Dan DeLeeuw to talk about one of The Secret Lab's last effects projects, Reign of Fire, and creating the film's horrible winged creatures.
Today's hybrids that combine traditional techniques and new digital tools are creating some fascinating looking animation. Fred Patten asks a number of innovators how they created their animation.
Bill Desowitz finishes our series on the computer-generated effects of Star Wars Episode II. This time he goes behind the motion-capture process to discover the challenges of creating a clone army.
We all knew R2-D2 was cool...but in Star Wars Episode II he turns into a swash-buckling, damsel saving hero. Bill Desowitz speaks with Billy Brooks of ILM's "rebel unit" to find out about the transformation.
Rick DeMott swings in on Sony Pictures Imageworks to find out how they created visual effects amazing enough to match Spider-Man.