The man behind conversions of The Lion King and Beauty and the Beast discusses the stereoscopic 3-D renaissance at Disney.
Marvel's Exec-VP of visual effects and post production talks about the pressures of co-producing massive vfx-driven films like Iron Man 2, Captain America, Thor and The Avengers.
Method Studios VFX supervisor Olivier Dumont walks us through the complex building of Kronos and the Underworld for the Clash of the Titans sequel.
The PipelineFX CEO dishes insight on render farm management, pipeline efficiency and people’s wishful thinking about cloud-based production support.
Earlier this month, 5D presented the first of its digital design summits at USC called FLUX. Bill Desowitz reports the highlights.
The animation director of ILM’s first fully animated feature film talks design, budget, pipeline and fear. Not necessarily in that order.
Find out how TRIXTER tackles complex CG and stereoscopic 3-D feature work with a little help from a “tasty” motion tracking program called mocha.
Go behind the scenes of Andrew Stanton's first live-action feature and long-awaited Edgar Rice Burroughs adaptation.
NYU Media Research Lab founding director Dr. Ken Perlin discusses the past, present and future use of computer graphics technology for human interaction and communication.
Production VFX producer Jenny Fulle discusses the back to basics approach to the Ghost Rider sequel, Spirit of Vengeance, but with the addition of 3-D.
VFX supervisor Boyd Shermis takes us to Mysterious Island for the sequel to Journey to the Center of the Earth.
Weta Digital’s CTO talks about the technological challenges of producing some of the most compelling and captivating performances in cinema today.
Terrence Masson talks about preparing educators and students through a pioneering new approach to interdisciplinary collaboration.
VFX supervisor James McQuaide reveals the 3-D and Uber Lycan creature work of the fourth Underworld film.
ILM supervisor Craig Hammack sweeps through the VFX challenges of George Lucas' pet project about the top guns of World War II.
ILM visual effects supervisor Ben Snow shares his insights on turning sultry underwater vixens into vicious battling mermaids, all in stereoscopic 3-D
Framestore's Ben Morris describes how they managed to make us believe they never touched a shot in Steven Spielberg's Oscar contender.
Doug Smith of Rhythm & Hues explains how there's more to the latest Alvin and the Chipmunks sequel than the usual furry antics.