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.
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.
In building a more personal, varied animation future, Greg Singer offers perspective for collaborating online.
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.
It is said that love is the mythology that two people create together. At Weta, Ltd., in New Zealand, it is love at first byte.
So you think selling a show is easy? Martin "Dr. Toon" Goodman goes behind the scenes of Atomic Cartoons to see how much work and time goes into getting a show off the ground.
John C. Donkin, Blue Sky's associate producer, reminisces on how the studio transformed itself from a small boutique into a major feature film contender.
Becoming an animation producer is no easy task but Gerard Raiti offers a few pointers from the folks at Duck Soup Studios, Renegade Animation and Wild Brain, Inc., on how you can get in the door and start to succeed.
Jean Detheux begins a series of articles that will explore animation as (commercial) entertainment and animation as an art form. In this first installment Jean discusses how we should approach "the real" as the unknown, and not take it for granted.
Raymond Palma chats with the mother-son team of Betty and Mickey Paraskevas, whose childrens books are turning into television shows like wildfire.