A banjo-strumming, high-stepping Pixar short marks a turning point for traditional animator Bud Luckey the artist responsible for designing Woody.
Over the last year, with more sophisticated vfx and direct movie tie-ins, video games upped the eye candy and game play quotient.
Christopher Harz takes a look at new innovations taking place in burgeoning 3D industries beyond entertainment.
Fluids Michael Fu and Josh Piezas look at various economic issues surrounding remote animation production.
Continuing our excerpts from the Inspired 3D series, Tom Capizzi presents an in-depth character modeling tutorial.
Dariush Derakhshani looks at the expanding presence of Digital Domain and Stan Winston Studios in the production and digital effects arenas.
Bill Desowitz sits down with Peter Jackson to discuss lessons learned about vfx that Weta Digital applied to The Return of the King.
J. Paul Peszko investigates how filmmakers re-created 1870s San Francisco and Japan for the action-drama The Last Samurai.
Bill Desowitz sits down with Tim Burton and talks with the director about Big Fish and the pros and cons of a digital world.
Mary Ann Skweres talks with the visual effects leads on Sci Fi Channels Battlestar Galactica mini-series about how they re-envisioned the TV series and vfx design.
Rick Baumgartner talks with ESC Entertainment about its transition from The Matrix trilogy to such upcoming visual effects projects as Catwoman.
Continuing our run of excerpts from the Inspired 3D series, David Parish, in the second of a two-part article, addresses the dead give-aways between the real world and the CG world.
Ellen Wolff talks with visual effects supervisor Jay Redd, who reveals what Sony Pictures Imageworks conjured up for The Haunted Mansion.
Seth Piezas looks at how artists are bringing traditional animation techniques such as squash-and-stretch into the 3D world of computer animation.
Bill Desowitz takes a look at the unique symbiotic relationship between Sony Pictures Imageworks and Animation.
Demo reels are so 1990. Henry Turner chronicles how Uncharted Territory created its own visual effects feature, Coronado, as a way to promote the fledgling company.
Mary Ann Skweres talks with Rhythm & Hues vfx wizards on how they brought the wacky world of Dr. Seuss The Cat in the Hat to life.
Isaac V. Kerlow addresses the multiple technical and creative challenges involved in creating realistic CG characters for live-action films.
Henry Turner gets his sea-legs investigating the journey to the big screen for Master and Commander: The Far Side of the World.
With Revolutions hitting theaters, Steven Mirkin delves into The Matrix trilogy to reveal the evolution of the story and the visual effects on this sci-fi milestone.
Continuing our run of excerpts from the Inspired 3D series, David Parish, in part one of a two part article, addresses the dead give-aways between the real world and the CG world.
Gameplay demands more than just a hot hero and a fast thumb; Jacquie Kubin explores three unique game environments and the guys that live there.
Michael Ford and Alan Lehman take us through the step-by-step process of planning the setup of a 3D character. While these steps may sound time consuming the authors assure us it will pay off in the end! The third of several excerpts from the book, Inspired 3D Character Setup.