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.
Gil Kenan talks about transitioning from Monster House to City of Ember and all the technological and aesthetic challenges it posed.
Bill Desowitz reports on the launch of last weekend's 5D conference in Long Beach, which offered "an overload of stimulus."
Janet Hetherington and Bill Desowitz report on the digital action at Montreal's conference for digital arts, ADAPT 2008.
The eDIT Filmmaker's Festival is reported by Johannes Wolters, where cinematography, editing and vfx flow together in greater context.
Ellen Wolff discovers how Tippett refines its Furrocious tool and throws in a few other advancements for Beverly Hills Chihuahua.
Marking Maya's 10th anniversary with the release of Maya 2009, Ellen Wolff chats with Autodesk's Kevin Tureski about the key highlights of the ubiquitous 3D animation software.
Sony Pictures Imageworks tackles Eagle Eye with the aid of a new in-house renderer called Arnold, and Thomas J. McLean finds out how it helped with attaining a real-world look.
Tara Bennett talks to showrunner and exec producer Gary Scott Thompson and Stargate Digital's Sam Nicholson about updating the much-loved franchise for a tech-savvy audience.
Tara Bennett talks to Heroes vfx producer Mark Spatny about the explosion of awesome work in the series' new season.
Peter "The Rizk" Rizkalla chats with Harmonix Art Director (and VFXWorld 3ds Max reviewer) Ryan Lesser about raising the bar with Rock Band 2.
In this month's issue of "The Digital Eye," Alexandra Pasian explores how Softimage's recent educational initiative is helping to push boundaries in 3D.
Production Designer Alex McDowell discusses the impetus behind 5D: The Future of Immersive Design, the upcoming conference at the California State University at Long Beach.