'Les Chevaliers Du Ciel': France’s Answer to 'Top Gun'
Alain Bielik reports on Les Chevaliers du Ciel, the most ambitious photoreal vfx movie ever made in France, thanks to the noteworthy work of La Maison.
Alain Bielik reports on Les Chevaliers du Ciel, the most ambitious photoreal vfx movie ever made in France, thanks to the noteworthy work of La Maison.
Alain Bielik chats with Framestore CFC and Double Negative about creating the character animation and environmental vfx, respectively, in Doom.
Alain Bielik discovers how illustrator/director Dave McKean weaved a surreal fantasy world for MirrorMask using the digital backlot.
Alain Bielik talks with MotionFX and lair Numique about their work on Roman Polanskis Oliver Twist, and asks for more.
Alain Bielik explores how Zoic Studios made the transition from TV to features with Serenity, including the challenge of creating a new pipeline dubbed Zlogic.
Alain Bielik does some spurlunking with the visual effects artists behind The Cave and unearthes some CG creatures.
Alain Bielik enters director Terry Gilliams fairy tale, The Brothers Grimm, to uncover the vfx wizards who brought the world to life.
Alain Bielik speaks with Digital Domain and visual effects supervisor Joel Hynek about bringing the fast-paced action of Stealth to the big screen.
Several of the visual effects supervisors on Charlie and the Chocolate Factory tell Alain Bielik how they managed to incorporate complex CGI.
Alain Bielik uncovers the digital challenges in conveying the various personalities exhibited by Herbie, the lovable VW bug, in the latest sequel.
Alain Bielik talks with the visual effects wizards behind the magical transformation of Bewitched from the small screen to the silver screen.
With the long-awaited release of Paul Schraders Exorcist prequel, Alain Bielik unearths the secrets of Proximas digital success.
Alain Bielik explores how MPC improved its motion capture and crowd simulation toolset for the siege of Jerusalem in Kingdom of Heaven.
Alain Bielik signs up for the mission looking into the extreme effects ILM performed for XXX: State of the Union.
Alain Bielik travels into the world of Sahara, where Cinesite and Double Negative were enlisted to create the fantastic vfx.
Alain Bielik uncovers the demonic inspirations and digital challenges of bringing Hellblazer to the big screen as Constantine.
Alain Bielik speaks with ILM and Tippett Studio about raising the digital bar when it comes to cartoony CG antics in Son of the Mask.
In Part 2, Christopher Panzner looks at how independent producers have to be a vertically-integrated individual as well as a little of a cowboy to survive in the industry.
Alain Bielik chronicles how previsualization helped director Jean-Pierre Jeunet bring his epic WWI romance, A Very Long Engagement, to the silver screen.