Alain Bielik unmasks the 3D tricks for blowing up London and other terrorist activity in the explosive political thriller, V For Vendetta.
Chris Robinson digs up It Pains Me to Say This by George Griffin for close inspection in this months Animators Unearthed.
VFXWorld presents the third excerpt from Learning Maya 7 | Foundation from Alias|Learning Tool. This excerpt continues a close-up look at how to animate a polygonal orb.
Leslie Iwerks looks into how visual effects masters bring 1930s Los Angeles back to life in Cape Town in Robert Townes Ask the Dust. Includes QuickTime clips!
Tara DiLullo talks with Tippett Studios Tom Schelesny about the transformation vfx that transpire in Disneys The Shaggy Dog.
J. Paul Peszko explores compelling transitions in commercials and music videos as a result of some of the latest advances in 3D software. Includes QuickTime clips!
Barbara Robertson chats with visual effects supervisors from King Kong, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe and War of the Worlds.
Janet Hetherington chats with top vfx experts and creative professionals about how new technology is making big ideas possible and affordable for commercials, music videos and the Web.
Tara DiLullo tackles the vfx commercials, which wowed viewers during Super Bowl XL, to see how the top artists scored such magic.
Alain Bielik uncovers the secrets of the Forces of Light and Dark that dwell in the hyper-cool Russian horror/sci-fi sensation, Night Watch.
In this months Digital Eye, guest columnist Jay Dee Alley the art director at Blue Fang Games plays the game of discerning art from mere technology.
Mireille Frenette and Benoit Guerville traveled to Imagina and discovered that all-around improvements make Imagina 2006 better this year.
Alain Bielik rides the roller coaster of deadly effects in Final Destination 3 with the visual effects wizards and lives to explain how they were done.
VFXWorld presents the first excerpt from Learning Maya 7 | Foundation from Alias|Learning Tool. This excerpt begins a close-up look at how to animate a polygonal orb.
Karen Raugust looks into how these days vfx houses are brought onto a commercial project during planning and pre-production rather than post-production.
VFXWorld presents the last excerpt from Building Interactive Worlds in 3D by Jean-Marc Gauthier. This month concludes a look at using the virtual camera for The Diner project.
Vfx professionals discuss with Janet Hetherington how previs is becoming more widely integrated into the production process.
Alain Bielik reports on the more ambitious vfx utilized in Underworld: Evolution, resulting in a pipeline shift by Luma Pictures and further reliance on ZBrush.
Jill Smolin reports on the particularly stunning and diverse work that was on display at the Academys VFX Bakeoff.
Alain Bielik meets the vfx wizards behind the new fantasy family film, Nanny McPhee, to try and uncover their magical secrets.
In the first edition of the new monthly column, The Animated Scene, Joseph Gilland talks about balancing the eclectic mix of personalities on an animated project to create a successful team.
Christopher Harz goes to the gadget geeks mecca CES and tells us what wonderful toys he found that are pushing entertainment into the future.