Janet Hetherington talks to Canadian vfx professionals about why their companies are being tasked with providing effects for A-list productions such as 300, Superman, Fantastic Four: Rise of the Silver Surfer, Babylon 5: The Lost Tales and more.
Bob Swain reports on the continuing efforts of Cartoon Movie as a facilitator of animation technology, finance and development in the EU.
In this month's edition of "The Digital Eye," Darren Podrabsky describes the collaborative role that HP Halo played in facilitating the making of Shrek the Third.
This year marks the ninth Annual VES Festival, and VFXWorld provides a glimpse of some of the highlights, including the VES 50 panel.
In the latest excerpt of Poser 7 Revealed, Kelly L. Murdock walks you through the available preset cameras.
Water is everywhere for the second consecutive summer movie season, and J. Paul Peszko dives in once again to navigate the latest breakthroughs with ILM, PDI/DreamWorks Animation and Sony Pictures Animation.
For Pirates of the Caribbean: At World's End, ILM provides more innovative CG water along with other new delights. Bill Desowitz hits the deck for the latest swashbuckling VFX.
In the latest excerpt of Poser 7 Revealed, you'll learn how to attach props to elements.
Bill Desowitz speaks with Russian visual effects supervisor Vladimir Leschinski about Day Watch and the state of his country's industry.
Joe Strike reports on how they attained such lush-looks in Shrek the Third, Surfs Up and Ratatouille, thanks to the latest simulation, lighting and rendering advancements.
Taylor Jessen delves into some of the inspirations and challenges behind the three shorts recently honored by the SIGGRAPH 2007 Computer Animation Festival.
In this month's edition of "The Digital Eye," Jenny Fulle explains the strategy behind Imageworks' launch of new satellite facilities in Northern California, India and New Mexico.
Water is everywhere for the second consecutive summer movie season, and J. Paul Peszko dives in once again to navigate the latest breakthroughs with ILM, PDI/DreamWorks Animation and Sony Pictures Animation.
Thomas J. McLean asks several VFX insiders about the potential creative influence of 300.
In the third and final article in our Spider-Man 3 series, Bill Desowitz takes a closer look at the making of symbiotic goo/Venom.
In the second of three articles on Spider-Man 3, Bill Desowitz takes an in-depth look at the technology behind Sandman.
Scott Spencer reveals how ZBrush 3 stands ready to further shake the paradigms of digital art and asset creation.
In the first of three articles on Spider-Man 3, Bill Desowitz provides an overview of how Sony Pictures Imageworks threw lots of sand, a little goo and some other new 3D tricks into the mix.
Peter Plantec returns to Stuttgart, Germany, for another round of re-connecting with the global VFX community at fmx/07.
Tara DiLullo Bennett gets the scoop on Sanctuary, whichmarks a new media experiment for sci-fi shot in HD and made with XSI and ZBrush.
The rage virus continues in 28 Weeks Later, and Alain Bielik uncovers the gritty vfx work turned in by a host of vendors under the supervision of Sean Mathiesen.
In the latest excerpt of Poser 7 Revealed, you'll learn how to access and use the Content Paradise website, which, among other things, allows you to revitalize old figures with new hairstyles or wardrobes.
Bill Desowitz returns to Las Vegas to report on some of the highlights of the recent NAB2007, which attracted the third highest attendance in its history.
You'll learn how to import 3D models, backgrounds, sounds and MoCap data in the latest excerpt from Poser 7 Revealed.
Vfx supervisor John E. Sullivan tells Thomas J. McLean about working on the fly with several vendors to help convey a fresh futuristic look in Next.
