| Article | Casanova: Digitally Bringing 18th Century Venice to Life |
| Article | Aeon Flux: Live Action in an Animated World |
| Article | Harry Potter and the Goblet of Fire: Part 2 — Wizard Competitions, Deatheaters and Voldemort |
| Article | Harry Potter and the Goblet of Fire: Part 1 — Hogwarts, Magic Spells and Miscellaneous Wizardry |
| Article | Les Chevaliers Du Ciel: France’s Answer to Top Gun |
| Article | The Legend of Zorro: Sequel Marks VFX Increase |
| Article | MirrorMask: Expanding the Digital Backlot |
| Article | Oliver Twist: A Dickensian VFX Effort |
| Article | From Firefly to Serenity: Pure Zlogic |
| Article | The Cave: Unearthing CG Creatures |
| Article | The Brothers Grimm: A Gilliam Fairy Tale |
| Article | Stealth: Keeping Speed With Jet-Fast F/X |
| Article | Charlie and the Chocolate Factory: Burton Eye Candy |
| Article | Herbie: Fully Loaded With a New CG Personality |
| Article | Bewitched VFX Wizards Share Their Magic |
| Article | Dominion: How Proxima Possessed the Prequel to The Exorcist |
| Article | Kingdom of Heaven: MPC’s Sword and Sandal Hat Trick |
| Article | XXX: State of the Union — 2 the Xtreme VFX |
| Article | Going to the Sahara with Cinesite and Double Negative |
| Article | Going to Hell and Back is a Nuclear Blast in Constantine |
| Article | Son of The Mask: Channeling Chuck Jones in CGI |
| Article | A Very Long Engagement Previsualization |
| Article | Digitally Confronting the Mother of All Vampires in Blade: Trinity |
| Article | Alexander: Digitally Pushing the Sword and Sandal Genre |
| Article | Searching for That Special French Vfx Touch |
| Article | A Journey Through Kaze, Ghost Warrior With Timothy Albee |
| Article | Exorcist: The Beginning Has Scary Effects |
| Article | Immortel: Bringing the Power and Poetry of Bilal to the Big Screen |
| Article | Thunderbirds are Live-Action Go |
| Article | I, Robot and the Future of Digital Effects |
| Article | The Chronicles of 800 Effects in Riddick |
| Article | Troy: Innovative Effects on an Epic Scale |
