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.
We've all been waiting to see Yoda in a light saber duel and Star Wars Episode II does not miss the mark. Bill Desowitz speaks with ILM on how they created Yoda in CGI and brought him to action.
Karl Cohen sits down with Rob Coleman, Episode II's animation director, and learns how the ILM team combines many different techniques into one seamless digital world.
From studios to independents to schools, Chris Robinson details the animation scene in Ottawa, from its humble, scientific beginnings to its current bubbling state.
Comic strips have been adapted into animation since the art form's origins. This month Dr. Toon looks at some of today's leading contenders to make the leap to motion.
In the midst of Spider-Man mania, Danny Fingeroth caught up with two of the most popular producers in showbiz Laura Ziskin and Avi Arad to talk about box office success, becoming a geek, creative changes and the new animated television show.
Surprised that Spider-Man is racking up such huge sums at the box office? Danny Fingeroth isn't, as he explains, there's a little Spidey in all of us.
In building a more personal, varied animation future, Greg Singer offers perspective for collaborating online.
Jean Detheux returns to look at the path animation has strayed onto a linear, non-experimental path and discusses why and how we should try to bring it back onto the road leading to Art.
Not all Tom & Jerry cartoons were produced in Hollywood, U.S.A. Gene Deitch tells how a full dozen were made in Prague, Czechoslovakia.
Justin Leach left the U.S. to experience animation production in Japan first hand. Taking a position at one of Japan's hottest studios he compares and contrasts two similar but very different worlds.
Don't work in a studio or live next to a school but want to learn Maya? John Edgar Park offers a solution and reviews the best Maya training videotapes around.