For Pirates of the Caribbean: At World's End, ILM provides more innovative CG water along with other new delights. Bill Desowitz hits the deck for the latest swashbuckling VFX.
Bill Desowitz speaks with Russian visual effects supervisor Vladimir Leschinski about Day Watch and the state of his country's industry.
Joe Strike reports on how they attained such lush-looks in Shrek the Third, Surfs Up and Ratatouille, thanks to the latest simulation, lighting and rendering advancements.
Taylor Jessen delves into some of the inspirations and challenges behind the three shorts recently honored by the SIGGRAPH 2007 Computer Animation Festival.
In this month's edition of "The Digital Eye," Jenny Fulle explains the strategy behind Imageworks' launch of new satellite facilities in Northern California, India and New Mexico.
Water is everywhere for the second consecutive summer movie season, and J. Paul Peszko dives in once again to navigate the latest breakthroughs with ILM, PDI/DreamWorks Animation and Sony Pictures Animation.
In the third and final article in our Spider-Man 3 series, Bill Desowitz takes a closer look at the making of symbiotic goo/Venom.
In the second of three articles on Spider-Man 3, Bill Desowitz takes an in-depth look at the technology behind Sandman.
Scott Spencer reveals how ZBrush 3 stands ready to further shake the paradigms of digital art and asset creation.
In the first of three articles on Spider-Man 3, Bill Desowitz provides an overview of how Sony Pictures Imageworks threw lots of sand, a little goo and some other new 3D tricks into the mix.
Peter Plantec returns to Stuttgart, Germany, for another round of re-connecting with the global VFX community at fmx/07.
Tara DiLullo Bennett gets the scoop on Sanctuary, whichmarks a new media experiment for sci-fi shot in HD and made with XSI and ZBrush.
The rage virus continues in 28 Weeks Later, and Alain Bielik uncovers the gritty vfx work turned in by a host of vendors under the supervision of Sean Mathiesen.
In the latest excerpt of Poser 7 Revealed, you'll learn how to access and use the Content Paradise website, which, among other things, allows you to revitalize old figures with new hairstyles or wardrobes.
Bill Desowitz returns to Las Vegas to report on some of the highlights of the recent NAB2007, which attracted the third highest attendance in its history.
You'll learn how to import 3D models, backgrounds, sounds and MoCap data in the latest excerpt from Poser 7 Revealed.
Vfx supervisor John E. Sullivan tells Thomas J. McLean about working on the fly with several vendors to help convey a fresh futuristic look in Next.
Christopher Harz gets serious about the booming business of serious games, reporting back on the highlight of the Serious Games Summit.
Excuses: "No money." "No school teaches what I want to learn in my city." "I am working and have no time.""How in the heck am I supposed to master that software?"
... and the excuses continue for those that want to take the next step in their careers toward digital animation and visual effects.
Today there is an emerging sub-industry in the animation and visual effects business. It is online digital training that can be done from the comfort of a laptop in any corner of the globe.
Online education is not new. Most colleges and universities for the last several years offer courses for students that are taught in their homes and dorms. Many of these courses are book-learning type subjects, where the topic is lecture based. However, back in the day of CD-ROMs, technical education such as certification in software, had to be taught in a digital method. Today, the online experience is more interactive and the method of teaching is far more comprehensive.
Taylor Jessen chats with Bill Plympton about the making of and theatrical release of his genre-busting 1950s throwback feature, Hair High.
Alain Bielik investigates the secrets behind Double Negative's gun-blazing work on Hot Fuzz, the new cop spoof from the makers of Shaun of the Dead.
Students in USC's new graduate class in performance capture, co-instructed by Robert Zemeckis, learn the importance of facial animation to coax out strong character performances. Karen Raugust reports.