Karen Raugust looks at how Disney and other studios are re-energizing their staffs and positioning themselves for the on-demand future with a steady stream of animated shorts.
For its newest short, The Little Matchgirl, Disney turns again to the fabled Hans Christian Andersen. Bill Desowitz reports on the innovative and uncompromising results.
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.
In the latest Digital Eye, Per Holmes explains why storyboarding is an outmoded shot-planning tool for the 3D environment. Includes QuickTime clips!
Tara DiLullo goes behind the scenes at Rainmaker UK and MPC to decipher the subtle CG work in The Da Vinci Code.
Renee Dunlop finds out how directors Kyle Jefferson and Cameron Hood stretched their wings on First Flight, the new 3D-animated short from DreamWorks Animation.
For the third year in a row, Rick DeMott travels across town to E3 to uncover the secrets to the future of gaming.
Rick DeMott reviews the second version of the previsualization software FrameForge 3D, and reports that Innoventive Software is giving users what they want.
Alain Bielik dives into latest state-of-the-art fluid simulation advances and other CG modeling breakthroughs for Poseidon.
In the latest Digital Eye, Craig Zerouni of Side Effects Software explores how quickly experimental CG techniques become mainstream features.
In the latest excerpt from Learning Maya 7 | Foundation, Marc-AndrGuindon and Cathy McGinnis start a three-part series on rendering.
Bill Desowitz surveys some of the highlights of NAB2006 and isnt keeping what happened in Vegas a secret.
Christopher Harz attends the biggest and baddest GDC ever and tells us what he found with contributions from Dominic Cianciolo.
In the latest excerpt from Learning Maya 7 | Foundation, Marc-AndrGuindon and Cathy McGinnis finish mapping the orb.
Janet Hetherington checks in with vfx companies to ask about key trends and challenges, and how firms plan to improve their business this year.
J. Paul Peszko looks into the growing business trend of VFX companies branching out into 3D animation.
In this months Mind Your Business, Mark Simon tackles the ins and outs of a freelancers dreaded necessity invoicing.
Alain Bielik chats with the chief vfx supervisors on videogame-turned-feature film Silent Hill about tackling a job that started with three vfx houses and grew to nine.
Alain Bielik talks with visual effects supervisor Raymond Gieringer on how vfx were needed to keep political thriller The Sentinel in its White House setting. Featuring QuickTime vfx progression clips.
Karen Raugust reports on the importance of how three vfx houses developed guidelines for unique digital asset sharing while collaborating on The Chronicles of Narnia.
Bill Desowitz interviews Softimages vp/gm Marc Stevens and special projects manager Michael Isner about the business ramifications of the companys release of Face Robot, the industrys first software dedicated to the creation of believable facial animation for high-end productions.
In this months Digital Eye column, Sony Pictures Imageworks Jenny Fulle discusses the recent advances in stereoscopic 3-D and how it may be bring the magic back to the theatrical experience.