The Academy held its annual VFX Bakeoff on Thursday, with Thomas J. McLean providing the full report with exclusive breakdown clips!
MK12 discusses going Bond with the iconic title sequence and other graphical goodies and with exclusive clip.
With 24 relocating to D.C. for its seventh season, Tara Bennett goes undercover to find out how they are adding more vfx to their arsenal.
Oscar nominee David Fincher gets in the right headspace to talk about head replacement on Benjamin Button and the state of VFX.
Bill Desowitz uncovers the curious vfx case of Benjamin Button in this in-depth report with Digital Domain, Asylum, Hydraulx, Lola VFX and Matte World Digital.
Rich Hoover of Sony Pictures Imageworks tells Ellen Wolff about the crucial vfx issues for Valkyrie, including dealing with the two missing fingers on the hand of the German protagonist played by Tom Cruise.
Director Ari Folman tells Joe Strike all about the animation techniques and deeper meaning behind his acclaimed Waltz with Bashir.
Adam Sandler's tall tales come true in Bedtime Stories, and John Andrew Berton Jr. and Matt Johnson talk about the diverse vfx.
Stu Maschwitz of The Orphanage tells Tara Bennett what it was like collaborating with Frank Miller on Will Eisner's The Spirit, including the creation of a new digital hub called The Bunker.
The Tale of Despereaux marks the beginning of feature animation at Framestore, and AWN provides complete coverage of the breakthroughs.
Janet Hetherington chats with Aaron Sims about his latest work on The Day the Earth Stood Still, Clash of the Titans and Green Lantern.
Tatia Rosenthal tells Joe Strike about her journey to make Etgar Keret's $9.99 into a stop-motion feature, which links Israel, the U.S. and Australia.
Jeff Okun tells VFXWorld how a modern technological approach informed the retelling of The Day the Earth Stood Still.
Framestore adds a touch of film-level flair to its CG dinosaurs, as Tara Bennett discovers in her coverage of the popular Primeval TV series.
Andrew Farago reviews four short films: Drux Flux by Theodore Ushev, The Old, Old, Very Old Man by Elizabeth Hobbs, Sandbox by Avi Ofer and The Waif of Persephone by Nick Cross.
You can't keep a good Pinky down, so Keyframe Digital stepped in to handle the second season of Pinky Dinky Doo, and Joe Strike has the scoop.
VFX Supervisor Robert Short tells VFXWorld about raising the bar more graphically for Punisher: War Zone.
In this month's issue of "The Digital Eye," Hank Driskill, technical supervisor at Walt Disney Animation Studios, tells VFXWorld how Bolt impressively achieved the look of a 2D-painted background in CG.
VFXWorld goes undercover with Marc Forster and Kevin Tod Haug to explore the "editorially-driven visual effects" on Quantum of Solace.
For Baz Luhrmann's dreamy Australia, Rising Sun Pictures, Animal Logic and Framstore combine for some crafty vfx, as Thomas J. McLean discovers.
Twenty years ago, Who Framed Roger Rabbit revitalized the animation industry as a bold experiment, looking back as well as forward, as it turned out. AWN marks the historic occasion by reminiscing with Richard Williams, Don Hahn, Tom Sito, James Baxter and Ken Ralston.
Mac Guff Ligne handled key environmental vfx work on Transporter 3, and Alain Bielik discovers what their mission was.