Vfx Supervisor Michael Fink and CIS's Mark Breakspear talk about walking the fine line between the photoreal and the funny in Ben Stiller's Tropic Thunder.
Two of Pixar's principals take a look at the past, present and future of the landmark rendering system.
In this month's edition of "The Digital Eye," Peter Plantec provides a sneak peek of the new "Emily" CG-animated face project that will be unveiled by Image Metrics next week at SIGGRAPH 2008.
Tara Bennett gets the scoop on the latest bug attack in the direct to DVD/Blu-ray installment, Starship Troopers 3: Marauder.
In this last excerpt from Maya 2008 Character Modeling and Animation, author Tereza Flaxman explains how to animate an object on a path and edit the animation timing using motion path keys.
The Mummy is back for a third installment and Thomas J. McLean unwraps the vfx supplied by Digital Domain.
This year, in keeping with the Evolve theme, SIGGRAPH has split its digital art gallery into two exhibits, and Eric Post explores how and why.
Thomas J. McLean talks to X-Files VFX Supervisor Mat Beck about the challenges of snowfall with the new Frosty program.
This year's conference featured announcements from all the names in gaming; withanticipated titles from Capcom and Namco Bandai. Resident game enthusiast Peter Rizkallagives his round up of the recent L.A.-based event.
Tom McLean talks to noted vfx supervisors Eric Brevig, Dean Wright, Stefen Fangmeier, Colin Strause and Rpin Suwannath to find out how they made the leap to directing features.
Alain Bielik concludes his two-part report on The Dark Knight with Double Negative, Framestore and Buf.
Alain Bielik speaks with Double Negative about raising the vfx bar for The Dark Knight in the first of two parts.
In this month's edition of "The Digital Eye," Seth Rosenthal of Tweak Software discusses the significance of its first commercially available package, RV Playback.
Double Negative animator Jay Davis tells Ellen Wolff about the inner workings -- glowing cogs and all -- of Hellboy II's Golden Army.
J. Paul Peszko tells why it was an extremely challenging Journey to the Center of the Earth for the vfx studios.
Alain Bielik gets a full report from Double Negative about Hellboy II: The Golden Army, its largest character animation project to date.
Tara Bennett talks to Ken Hahn and Carey Villegas of Sony Imageworks about the unconventional yet satisfying demands of Hancock.
In this fifth of six excerpts from Maya 2008 Character Modeling and Animation, author Tereza Flaxman explains how to create NURBS surfaces from construction curves, using Maya's Birail and Boundary tools.