Brickyard VFX's Gina Downing provides a first-hand glimpse of how Autodesk Flare's serves as a companion to Flame and Inferno.
Dean Grubb tests the new Houdini 10, which offers Motion FX, an enhanced Python and a few more cool features.
In his directorial debut, Hoyt Yeatman raised a G-Force of guinea pigs with the help of Sony Pictures Imageworks, and Bill Desowitz uncovers their CG and 3-D secrets.
Sebastian Sylwan and Joe Letteri give Bill Desowitz the scoop on the new R&D unit at Weta Digital, and what they hope to accomplish at SIGGRAPH 2009.
Harry Potter and the Half-Blood Prince contains spectacular new fire and water sim from ILM, which Bill Desowitz uncovers along with how the eerie Inferi were animated.
Harry Potter and the Half-Blood Prince looks a lot more photoreal, and Bill Desowitz finds out how and why from Tim Burke, Double Negative, MPC and Rising Sun Pictures.
In the latest excerpt from Maya Plugin Power, author Mark Jennings Smith shows readers how to blow things up with the Megaton or Kiloton plugins from Blastcode.
Tara Bennett reports back from the set of M. Night Shyamalan's The Last Airbender in Philadelphia, offering a glimpse of the director's first vfx-intensive adventure, courtesy of ILM.
The bots are back in Transformers: Revenge of the Fallen, and ILM tells Bill Desowitz how it rose to the challenge of animating and getting superior performances.
Vfx vet Kevin Mannens tells us what distinguishes his new production-based online school for TDs from its competitors.
Bill Westenhofer talks about raising the dino bar for Rhythm & Hues in this new take on the old Sid & Marty Krofft series with Will Ferrell on the loose.
Matt Jacobs of Tippett Studio divulges what it was like opening up hell for the new Sam Raimi shocker. Includes major spoiler images.
In the latest excerpt from Maya Plugin Power, author Mark Jennings Smith explains liquid simulations using Next Limit's RealFlow plug-in.
ILM has moved beyond making great photoreal robots and on Terminator Salvation a more efficient and accurate toolset was created for shading, lighting and redering.
Three years ago, the first Night at the Museum turned to Rhythm & Hues to create its fantastical CG characters. From a playful T. Rex skeleton to talking Easter Island heads, the crew was charged with the responsibility of bringing the exhibits of New York's American Museum of Natural History to life after hours. Now, with the sequel, Battle of the Smithsonian, the plot expands to include the entire Smithsonian in Washington D.C. and Rhythm & Hues has returned to significantly up the stakes.
eyeon Founder Steve Roberts discusses the immense challenge of efficiently tracking, visualizing and managing data and metadata throughout the entire post-production/vfx pipeline.
The VFX stakes were raised for this race against time, Vatican thriller, and Alain Bielik has the scoop.
Star Trek's lead creature designer discusses coming up with Big Red and Polarilla along with a few other surprises.
Mitch Suskin and his vfx team brought a greater sense of reality to the fantasy world of Lost this past season.