In another excerpt from the Inspired 3D series, Michael Ford interviews computer graphics artist Andy Jones, whose credits include Titanic and Godzilla.
Mary Ann Skweres lets the fur fly about how the vfx artists on Garfield brought the fat cat to life on the big screen.
Escaped convict Riddick is on the run again and Alain Bielik tracks him down to three digital effects houses. The clues? Some 800 effects shots!
In another excerpt from the Inspired 3D series, we step through the collaborative efforts involved in lighting and compositing a shot.
In part one of the Lorenzo visual development gallery, VFXWorld provides an exclusive look at some of Mike Gabriels stunning background paintings for this groundbreaking short.
Bill Desowitz chatted with vfx legend Phil Tippett about his move to the director's chair for Starship Troopers 2.
Henry Turner ventures into the storm of vfx that makes up the disaster flick, The Day After Tomorrow.
Alain Bielik confronts the army of vfx artists that created the massive battle sequences for Troy using artificial intelligence, not the Trojan Horse.
Bill Desowitz spotlights the burgeoning vfx and 3D-animated feature work being done by Chinas Shanghai SFS Digital Media.
Christopher Harz pays a visit to one of the hottest vfx havens, Londons Soho district, which has attracted a flurry of American movies, thanks to creativity and tax incentives.
Alain Bielik meets the visual effects supervisor behind the hallucinatory images of Blueberry, a French western with a twist.
Taking visual cues from Gustav Dore and other classical artists, the look of Shrek 2 has more detail, richness and lighting bounce than its blockbuster predecessor, as evidenced by this exclusive visual development gallery.
Ellen Wolff reveals how ILM was pushed to the digital limit in reimagining the Universal monsters for Van Helsing.
In another excerpt from the Inspired 3D series, Sony Pictures Imageworks Jim Berney is interviewed about lighting and compositing.
Bill Desowitz provides an inside look at NAB2004, including some of the latest digital advancements and a revealing case study of Van Helsing.
Bill Desowitz sits down with Ted Rae, the visual effects supervisor and 2nd unit director on The Passion of the Christ, to discuss the digital challenges of Mel Gibsons surprising biblical blockbuster.
Janet Hetherington talks with Peter Sluszka, director of animation for Dancing Diablo Studio, about the company's work on the new animated music video for Steriograms Walkie Talkie Man.
Marty Shindler, ceo of management consulting firm The Shindler Perspective, takes readers through the ABCs of digital rights management.
Dr. Toon gives the prize catch of all animated features, Finding Nemo, a bit of a tongue-in-gill tribute.
Mary Ann Skweres talks to the visual effects wizards who brought the magic to Miramaxs Ella Enchanted.
Mary Ann Skweres uncovers the challenges of refining Scooby so he behaves more convincingly as a 3D canine with human characteristics in Scooby-Doo 2: Monsters Unleashed.
Ellen Wolff looks at the use of digital intermediate technology on the Coen brothers new film, The Ladykillers.