ILM supervisor Craig Hammack sweeps through the VFX challenges of George Lucas' pet project about the top guns of World War II.
ILM visual effects supervisor Ben Snow shares his insights on turning sultry underwater vixens into vicious battling mermaids, all in stereoscopic 3-D
Framestore's Ben Morris describes how they managed to make us believe they never touched a shot in Steven Spielberg's Oscar contender.
Doug Smith of Rhythm & Hues explains how there's more to the latest Alvin and the Chipmunks sequel than the usual furry antics.
ILM's VFX vet tells us about returning to M:I and tackling Brad Bird's first foray into live action.
Framestore's Christian Kaestner debriefs us about the reworking of John Le Carre's Tinker Tailor Soldier Spy with director Tomas Alfredson.
In the first part of a three-part chapter excerpt, Stephen Burns begins with a tutorial on creating the initial landscape using auto align layers.
Max Ivins discusses how Look FX helped refine Jim Henson's beloved furry friends for their big-screen comeback.
Tippett Studio takes on MoCap for the first time in the new bloodthirsty epic by director Tarsem Singh.
Uncharted gets into new VFX territory with Roland Emmerich's provocative Shakespeare authorship drama.
The acclaimed John Carpenter monster movie gets a digital upgrade from Image Engine for the new prequel.
Bill Desowitz finds out how Digital Domain and Giant Studios took virtual production to the next level.
Bill Desowitz provides an overview of his provocative conversation with the innovative John Gaeta at the inaugural Palo Alto Film Festival.