Alain Bielik meets the visual effects supervisor behind the hallucinatory images of Blueberry, a French western with a twist.
Taking visual cues from Gustav Dore and other classical artists, the look of Shrek 2 has more detail, richness and lighting bounce than its blockbuster predecessor, as evidenced by this exclusive visual development gallery.
J. Paul Peszko talks to the makers of Hoodwinked, the first independently produced 3D animated feature in the Philippines.
Ellen Wolff reveals how ILM was pushed to the digital limit in reimagining the Universal monsters for Van Helsing.
The 2004 edition of the 3D Awards names 'Finding Nemo' the best 3D animated feature film; 'The Lord of the Rings: The Return of the King' is crowned with the prize for best feature film visual effects.
In another excerpt from the Inspired 3D series, Sony Pictures Imageworks Jim Berney is interviewed about lighting and compositing.
Bill Desowitz sits down with the pioneering Ray Harryhausen to discuss the continuing influence of his special effects animation on todays creature features.
Bill Desowitz provides an inside look at NAB2004, including some of the latest digital advancements and a revealing case study of Van Helsing.
Mark Ramshaw looks at the realtime 3D asset and coding trends in the U.K. videogames industry at the moment.
Mary Ann Skweres talks with the developers of the role-playing game Sudeki about their creative and technical processes.
The Pixel Priestess looks at how the world of VFX fits into its sister (brother?) universe of games.
Bill Desowitz sits down with Ted Rae, the visual effects supervisor and 2nd unit director on The Passion of the Christ, to discuss the digital challenges of Mel Gibsons surprising biblical blockbuster.
Marty Shindler, ceo of management consulting firm The Shindler Perspective, takes readers through the ABCs of digital rights management.
Mary Ann Skweres talks to the visual effects wizards who brought the magic to Miramaxs Ella Enchanted.
Tito A. Belgrave looks at photogrammetry and the creation of photoreal models. Includes QuickTime movie clips!
Mary Ann Skweres uncovers the challenges of refining Scooby so he behaves more convincingly as a 3D canine with human characteristics in Scooby-Doo 2: Monsters Unleashed.
Ellen Wolff looks at the use of digital intermediate technology on the Coen brothers new film, The Ladykillers.