Bill Desowitz sits down with the pioneering Ray Harryhausen to discuss the continuing influence of his special effects animation on todays creature features.
Bill Desowitz provides an inside look at NAB2004, including some of the latest digital advancements and a revealing case study of Van Helsing.
Mark Ramshaw looks at the realtime 3D asset and coding trends in the U.K. videogames industry at the moment.
Mary Ann Skweres talks with the developers of the role-playing game Sudeki about their creative and technical processes.
The Pixel Priestess looks at how the world of VFX fits into its sister (brother?) universe of games.
Bill Desowitz sits down with Ted Rae, the visual effects supervisor and 2nd unit director on The Passion of the Christ, to discuss the digital challenges of Mel Gibsons surprising biblical blockbuster.
Marty Shindler, ceo of management consulting firm The Shindler Perspective, takes readers through the ABCs of digital rights management.
Mary Ann Skweres talks to the visual effects wizards who brought the magic to Miramaxs Ella Enchanted.
Tito A. Belgrave looks at photogrammetry and the creation of photoreal models. Includes QuickTime movie clips!
Mary Ann Skweres uncovers the challenges of refining Scooby so he behaves more convincingly as a 3D canine with human characteristics in Scooby-Doo 2: Monsters Unleashed.
Ellen Wolff looks at the use of digital intermediate technology on the Coen brothers new film, The Ladykillers.
Bill Desowitz gets a first look at Disneys new animated short, Lorenzo, about a narcissistic cat that boasts a unique look.
The future is now for visual effects supervisor Tim Alexander, who learned that running a concurrent effects previs on Hidalgo helped to establish a successful digital pipeline.
Henry Turner investigates the newest developments in motion capture and motion control, which brings the technology on-set. Includes a QuickTime movie clip from Hidalgo.
In her debut Pixel Priestess column, Jill Smolin ponders the tension between art and technology in vfx and where we go from here.