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.
A new director, a darker turn and a new vfx direction underlie the third Harry Potter installment. Mary Ann Skweres reports.
Independent producer/director Mark Simon talks about the death nail to independent production underbids and over-promises.
Production designer Alex McDowell provides a behind-the-scenes look at the design and construction of the crucial terminal from Steven Spielberg's The Terminal. Includes QuickTime movie clips!
Henry Turner travels around the world to discover the vfx wonders that lie within Disney and Walden Medias remake of Around the World in 80 Days.
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.