For Baz Luhrmann's dreamy Australia, Rising Sun Pictures, Animal Logic and Framstore combine for some crafty vfx, as Thomas J. McLean discovers.
Mac Guff Ligne handled key environmental vfx work on Transporter 3, and Alain Bielik discovers what their mission was.
Doug Chiang, EVP of ImageMovers Digital, discusses starting from scratch with the new studio and the latest performance capture movie from Bob Z, A Christmas Carol.
Chris Perna, lead artist at Epic Games, tells Peter Rizkalla how Gears of War 2 raises the bar with more graphical richness and complex animation.
VFXWorld talks exclusively with Bob Osher and Hannah Minghella, the new heads of Sony Pictures Digital Prods., about their artist-centric approach to vfx and animation.
For the recent Low vs. Diamonds music video, Heart Attack, HAL helps achieve gradual yet detailed aging during a timeless yet intimate lovers' kiss.
The producers and creators of the new French animated feature talk about the transformation of six graphic visions into one artistic frightfest.
Now that Sanctuary has been picked up by SCI FI Channel, the virtual environments hand creature work have been cranked up by Anthem Visual Effects. Tara Bennett finds out how.
Jeremy Luyties, the lead design director of the new Quantum of Solace videogame, takes Peter "The Rizk" Rizkalla through the James Bond paces along with the virtual Daniel Craig.
In this third excerpt from The Official Luxology modo 301 Guide, author Daniel Ablan puts a twist on Shader Tree applications.
The Rushes' Jonathan Privett describes the "shoot fast and get out clean" approach to Guy Ritchie's RockNRolla.
In this edition of her bimonthly column, Nancy Cartwright interviews top-ranked voice-over actor Jess Harnell.
Zoic Studios talks about the VFX challenges of pulling off an otherworldly vampire vibe in Alan Ball's True Blood series on HBO.
Michael Owens and Geoffrey Hancock explain how L.A. was brought to vintage life with VFX in Clint Eastwood's Changeling.
VFXWorld goes deeper into Autodesk's surprising acquisition of 3D rival Softimage with Autodesk Media & Ent. SVP Marc Petit and Softimage General Manager Marc Stevens.
In this month's issue of "The Digital Eye," Rob Pieké explores the inner workings of R&D at London-based MPC, where ALICE, Furtility, PAPI and Tickle reign.
George Maestri tests out the latest edition of Maya from Autodesk to figure out the significance of the new particle systems, layered animation, modeling and stereoscopic image rendering.
In this second excerpt from The Official Luxology modo 301 Guide, author Daniel Ablan talks about the key operation of building in layers.
Everett Burrell discusses the making of the nightmarish Valkyries and the strange drug-induced hallucinations in Max Payne.
Ubisoft's Yannis Mallat and Hybride's Pierre Raymond go deeper into their strategic roadmap for convergence.
For Body of Lies, the latest spy thriller by Ridley Scott, Sony Pictures Imageworks goes into stealth mode, but Jack Egan uncovers the vfx secrets.
There's no stopping this Terminator, as Tara Bennett reports on the new animation and lighting tricks for the second season of TSCC.