Mary Ann Skweres reports on what students need to know for planning a motion capture education. Includes QuickTime movie clip!
Jacquie Kubin reports on how the videogame, educational and software industries are working together to create the next generation of game creators.
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.
Click visual effects supervisor Pete Travers discusses bringing the time shifting Adam Sandler comedy to life in this exclusive production diary.
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 rides along with the visual effects artists on The Fast and the Furious: Tokyo Drift for a trip to a virtual Japan.
Renee Dunlop describes the vfx tale that brought Garfield back to the big screen in Garfield: A Tail of Two Kitties.
In the latest excerpt from Learning Maya 7 | Foundation, Marc-AndrGuindon and Cathy McGinnis conclude a three-part series on rendering.
Alain Bielik discovers how Mainframe altered its design process to achieve more realistic MoCap for Tony Hawk in Boom Boom Sabotage.
In the latest excerpt from Learning Maya 7 | Foundation, Marc-AndrGuindon and Cathy McGinnis continue a three-part series on rendering.
Alain Bielik recounts how Cinesite (Europe) recreated the legendary death scenes in the remake of The Omen using state-of-the-art digital technology.
The VFX stakes were definitely raised for X-Men: The Last Stand. Tara DiLullo discusses the challenges with Cinesite, MPC and Weta Digital.
J. Paul Peszko dives into the extraordinary advances in CG water on display this summer in Poseidon and Pirates of the Caribbean: Dead Mans Chest.
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.