Tara Bennett talks Eli Stone with Stargate Digital's Sam Nicholson. That means fire-breathing dragons, collapsing The Golden Gate Bridge, going to the Himalayas and shooting George Michael on greenscreen.
Bill Desowitz chats with Jeff Barnes, co-founder of The ComputerCafe Group and the new chairman of the VES, about the state of VFX and the Society's new direction.
Karen Raugust reports on how the famed AI-based 3D animation system is being adopted by key VFX/animation schools.
Alain Bielik visits The Ruins with Rising Sun Pictures, which devised a new system for animating the nasty, man-eating vines.
Tara Bennett pays a visit to Nim's Island with CafeFX and others to explore the CG pelicans, sea lions and lizards.
In this second of six excerpts from Maya 2008 Character Modeling and Animation, author Tereza Flaxman explains how to better control the deformation around joints.
Anupam Das of EA tests Houdini 9.1 and discovers several improvements, including FBX support and new additions to fluid and animation tools.
In this month's edition of "The Digital Eye," Autodesk's Maurice Patel explores how gaming is driving VFX and Design Visualization through performance, interaction and immersion.
Dave Schaub of Sony Pictures Imageworks tells Bill Desowitz all about the additional animation in the alternate ending for I Am Legend, now on DVD/Blu-ray.
Fred Galpern catches up with Ben Mathis to find out more about his career after recently leading the GDC Visual Arts Track on Maxon BodyPaint.
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.
Bill Desowitz recently caught up with Sheena Duggal of Sony Pictures Imageworks to discuss the promotional 3D short she directed about the Chicago Spire, the towering, twisting, opulent residential development project.
Bill Desowitz chats with Jeff Brown of NVIDIA about its recent acquisitions of mental images and AGEIA.
Amid the requisite exploding gore in Neil Marshall's new Doomsday, Thomas J. McLean uncovers the subtler vfx deployed by Double Negative to convey a dystopian future Scotland.
In this first of six excerpts from Maya 2008 Character Modeling and Animation, Tereza Flaxman explains how to create a smooth bind.
With this week's release of Tin Man on DVD, Tara Bennett caught up with Anthem Visual Effects about efficiency, mobats and going to town on Central City.
Alain Bielik tames the prehistoric beasts in 10,000 BC after speaking with the vfx vets at Double Negative and MPC.
Eddy Wong of Menfond tells Tara Bennett about the VFX thrills in Stephen Chow's latest Hong Kong actioner, CJ7.
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.
Fred Galpern reports back from GDC 2008 on the launch of Havok Cloth and Destruction, Star Wars: The Forced Unleashed, realtime rendering and more.
Bill Desowitz talks technology, convergence, The Force Unleashed and Star Wars: The Clone Wars with Richard Kerris, who recently left Apple to become CTO of Lucasfilm.
In this month's edition of "The Digital Eye," Bill Desowitz concludes his report on a recent Previs Roundtable discussion he moderated with a focus on videogames.
Tara DiLullo Bennett gets the scoop on Vantage Point: a low-key political thriller in which the vfx melt into the background.
BUF Compagnie is back with Michel Gondry on Be Kind, Rewind, and Alain Bielik is on the scene to find out what new vfx wrinkles are in store.
On the eve of the Academy Awards this Sunday, Bill Desowitz chats separately with Visual Effects Supervisors Scott Farrar, Mike Fink and John Knoll about CG robots, daemons and the Maelstrom.
