Matt Jacobs of Tippett Studio divulges what it was like opening up hell for the new Sam Raimi shocker. Includes major spoiler images.
ILM has moved beyond making great photoreal robots and on Terminator Salvation a more efficient and accurate toolset was created for shading, lighting and redering.
The secret to Up's success might be summed up in one word: "Simplexity." Find out why from Pixar's Pete Docter and Scott Clark.
With tonight's premiere of The Goode Family, one of its creators discusses how the series is a counter balance to King of the Hill.
Three years ago, the first Night at the Museum turned to Rhythm & Hues to create its fantastical CG characters. From a playful T. Rex skeleton to talking Easter Island heads, the crew was charged with the responsibility of bringing the exhibits of New York's American Museum of Natural History to life after hours. Now, with the sequel, Battle of the Smithsonian, the plot expands to include the entire Smithsonian in Washington D.C. and Rhythm & Hues has returned to significantly up the stakes.
eyeon Founder Steve Roberts discusses the immense challenge of efficiently tracking, visualizing and managing data and metadata throughout the entire post-production/vfx pipeline.
Joe Strike talks to the creators of DreamWorks' first spin-off series, The Penguins of Madagascar, which has proven to be a hit for Nickelodeon, with more projects in the works.
The VFX stakes were raised for this race against time, Vatican thriller, and Alain Bielik has the scoop.
Star Trek's lead creature designer discusses coming up with Big Red and Polarilla along with a few other surprises.
Mitch Suskin and his vfx team brought a greater sense of reality to the fantasy world of Lost this past season.
Recent developments at Homestar Runner include a hiatus for Strong Bad Emails and a Wii title from Telltale Games.
The origin of Logan becoming Wolverine required a myriad of vfx by 17 vendors, and here are the highlights.
Part art film, part sci-fi adventure, Battle for Terra director Aristomenis Tsirbas describes the challenges of balancing both.
Lots of sci-fi, the return of a beloved franchise and a wizard named Harry and plenty of robots are part of our summer sneak peek.
London-based Men-From-Mars cranked out 1,454 shots with only a team of 30 for Mutant Chronicles. We find out how they did it.
A mere month after the end of Battlestar Galactica, Universal offers the unrated pilot to prequel Caprica on DVD, and Tara Bennett gets the scoop from VFX Supervisor Gary Hutzel.
Alain Bielik gets amped up with Crank: High Voltage VFX Supervisor James McQuaide to talk about the work Duran Duboi and LOOK Effects contributed to the film.
Tara Bennett talks to Hybride, Frantic Films and CafeFX about helping evolve Dragonball to the big screen.
Mark Tobin divulges how MPC's new commercial-focused boutique is faring in Santa Monica during the economic downturn.
Tara Bennett looks under the hood of the fourth Fast & Furious car movie to find out what Rhythm & Hues and Double Negative tricked out.
Burbank-based Furious FX took on their largest project to date with Disney's re-imagined Race to Witch Mountain, creating UFOs, SUV collisions and eerie blue alien lights along the way.