Production designer Alex McDowell provides a behind-the-scenes look at the design and construction of the crucial terminal from Steven Spielberg's The Terminal. Includes QuickTime movie clips!
The nurturing of new talent is vital to the continued success of the U.K. vfx industry. But just how effective are the lines of communication between the professional and education sectors? Mark Ramshaw talks to Seamus Morley at Techimage about the need to stay on course.
Henry Turner travels around the world to discover the vfx wonders that lie within Disney and Walden Medias remake of Around the World in 80 Days.
In another excerpt from the Inspired 3D series, Michael Ford interviews computer graphics artist Andy Jones, whose credits include Titanic and Godzilla.
Escaped convict Riddick is on the run again and Alain Bielik tracks him down to three digital effects houses. The clues? Some 800 effects shots!
Mary Ann Skweres lets the fur fly about how the vfx artists on Garfield brought the fat cat to life on the big screen.
In another excerpt from the Inspired 3D series, we step through the collaborative efforts involved in lighting and compositing a shot.
In part one of the Lorenzo visual development gallery, VFXWorld provides an exclusive look at some of Mike Gabriels stunning background paintings for this groundbreaking short.
Chris Landreth discusses with Greg Singer many of the artistic and personal issues that have made Ryan such an acclaimed short on the festival circuit this year.
Bill Desowitz chatted with vfx legend Phil Tippett about his move to the director's chair for Starship Troopers 2.
Henry Turner ventures into the storm of vfx that makes up the disaster flick, The Day After Tomorrow.
The Pixel Priestess explores the 3Es of Copenhagens 3D Festival -- education, entertainment and enlightenment.
Self-described gaming novice Rick DeMott traveled to the L.A. Convention Center for a crash course in gaming mania that is the Electronic Entertainment Expo E3.
Alain Bielik confronts the army of vfx artists that created the massive battle sequences for Troy using artificial intelligence, not the Trojan Horse.
Bill Desowitz spotlights the burgeoning vfx and 3D-animated feature work being done by Chinas Shanghai SFS Digital Media.
Christopher Harz pays a visit to one of the hottest vfx havens, Londons Soho district, which has attracted a flurry of American movies, thanks to creativity and tax incentives.
Alain Bielik meets the visual effects supervisor behind the hallucinatory images of Blueberry, a French western with a twist.
Taking visual cues from Gustav Dore and other classical artists, the look of Shrek 2 has more detail, richness and lighting bounce than its blockbuster predecessor, as evidenced by this exclusive visual development gallery.
J. Paul Peszko talks to the makers of Hoodwinked, the first independently produced 3D animated feature in the Philippines.
Ellen Wolff reveals how ILM was pushed to the digital limit in reimagining the Universal monsters for Van Helsing.
In another excerpt from the Inspired 3D series, Sony Pictures Imageworks Jim Berney is interviewed about lighting and compositing.
Bill Desowitz sits down with the pioneering Ray Harryhausen to discuss the continuing influence of his special effects animation on todays creature features.