Mitch Suskin and his vfx team brought a greater sense of reality to the fantasy world of Lost this past season.
Karen Raugust's Recent Posts
Recent developments at Homestar Runner include a hiatus for Strong Bad Emails and a Wii title from Telltale Games.
South Africa and Egypt lead the way, but quality work can be found in a number of African countries, as Karen Raugust reports.
Chinese studios are struggling to generate revenues at home while trying to expand their presence in the global marketplace. They face many hurdles, but signs point to success in the long term.
The last Licensing Expo to be held in New York -- it moves to Las Vegas next year -- featured plenty of animation, both new and nostalgic.
The former work-for-hire power transitions into a source of proprietary animation for the global market.
Karen Raugust reports on how the famed AI-based 3D animation system is being adopted by key VFX/animation schools.
A beverage, a bank, a drugstore chain, a state lottery, even a nonprofit group targeting business -- all are using animation to get their commercial messages across.
Karen Raugust explores some recent and noteworthy commercials from Framestore CFC, MPC, Digital Domain, Method Studios, RIOT and Radium in search of the creative process behind them.
VFX shots in the first half of the strike-interrupted fourth season of Lost played an important -- but supporting -- role. Karen Raugust gets the scoop from VFX Supervisor Mitch Suskin on the abbreviated season.
Karen Raugust reports from Toy Fair 2008, where toys linked to animated online virtual worlds were a notable trend.
In their quest for the next big idea, feature film studios are open to simple, elegant pitches with a strong core concept. Karen Raugust reports.
As High School Musical has shown, tweens can be loyal fans, avid viewers and significant purchasers of merchandise.
Karen Raugust looks at the production of Cartoon Network's first live-action show, Out of Jimmy's Head, based on last year's made-for-TV film Re-Animated.
Karen Raugust talks with voice and casting directors who say that, despite fierce competition, there are opportunities for talented, fresh-voiced novices to break in.
Karen Raugust reports on how some commercial animation houses are starting to ask for ownership and participation in commercial characters and concepts they have developed.
A raft of animated films, television series and interactive properties, from major studios and independent animators alike, were on display at Licensing International this year.