Carolyn Giardina reports on the growing popularity and importance of the eDIT 9. Filmmaker’s Festival in Frankfurt, Germany.
Karen Raugust investigates how the vfx work featured in new and returning series this fall focuses on realism and subtlety.
Karen Raugust investigates a Purdue University research project using 3D animation and virtual reality to teach math concepts to hearing impaired school children.
In this months Career Coach, Pamela Kleibrink Thompson lists the top seven ways to make a great impression on an interviewer.
Chris Landreth finds inspiration in all images computer-generated at SIGGRAPHs 2006 edition of the Electronic Theater.
Renee Dunlop looks into how Movas Contour Reality Capture System changes how we look at CG characters.
Steve Sullivan, director of R&D at Industrial Light & Magic, tells Barbara Robertson about the new interactive previs system ILM is developing.
Taylor Jessen reviews five short films Bar Fight by Christy Karacas and Stephen Warbrick, Come On Strange by Gabriela Gruber, Le Couloir (The Corridor) by Jean-Loup Felicioli and Alain Gagnol, A Fish with a Smile by C. Jay Shih, and Jam Session by Isabela Plucinska. Includes QuickTime movie clips!
Sarah Baisley reports on her experiences at Annecy 2006 where the MIFA market showcased more excitement than the festival.
AWN and VFXWorld editors Bill Desowitz, Sarah Baisley and Rick DeMott attended the VES Festival of Visual Effects, reporting back on secrets to the magic that were on display.
Orlando Luna stirs up Apples advanced composting tool, Shake 4.1, which is now priced for the masses.
Fred Galpern takes a sneak peek at Mudbox, the soon to be released digital sculpting tool from Skymatter, and the beta report is sure to whet your appetite.
In the final part of our Superman Returns coverage, Bill Desowitz reports on the challenges and accomplishments met by several participating vfx studios.
Taylor Jessen reviews five short films One Rat Short by Alex Weil, Smile by Chris Mais, Memorial by Matt Clausen and Jon Gutman, Coffee by Rohitash Rao and Abraham Spear, and Dog Worries by Chris Armstrong. Includes QuickTime movie clips!
Marisa Materna chats with director Richard Linklater on the production of A Scanner Darkly, which utilizes interpolated rotoscoping to bring live-action footage into an animated dream world.
J. Paul Peszko talks with the recruiters at top animation and visual effects studios regarding the intangibles that will help land you your dream job.
In part two of AWNs in-depth Cars coverage, Bill Desowitz discovers the roots of Route 66 in creating the highly detailed, luscious and complex world.
In response to a previous Digital Eye column on why storyboards dont work, veteran previs artist Peter Rubin offers a counter argument about why they are not obsolete.
Alain Bielik recounts how Cinesite (Europe) recreated the legendary death scenes in the remake of The Omen using state-of-the-art digital technology.
Alain Bielik discovers how Mainframe altered its design process to achieve more realistic MoCap for Tony Hawk in Boom Boom Sabotage.
Philippe Moins turns the pages on Astix film production history to offer perspective for the latest animated feature, Astix et les Vikings, moving across European theaters.