In Part 1 of this series, Ellen Besen sits down with maverick CG director Chris Landreth, creator of Bingo and the new, breakthrough film Ryan, to discuss the current state of CG human characters and realism.
The Digital Eye tracks the future factors awaiting visual effects artists, animators and production companies as the epicenter of work moves outside of Hollywood.
Mary Ann Skweres looks at how invisible visual effects are becoming a crucial part of the industry, but are still being overshadowed by the flashy f/x.
Rick Baumgartner talks with some of the top visual effects supervisors about how theyve had to adjust to changes in the industry.
Mary Ann Skweres goes behind the mask to discover the invisible visual effects secrets of The Phantom of the Opera.
Ellen Wolff explores how ILMs Stefen Fangmeier mixed cutting edge technology with a bit of old cinema magic to help conjure the retro look of Lemony Snicket.
Karen Raugust investigates how business, creative and technological trends are transforming the vfx industry and the artists place in it.
In the third part of a four part series from the Inspired 3D Short Film Production book, Jeremy Cantor and Pepe Valencia continue their look at art direction with a look at props, weather and lighting.
In Part 3 about mold making with hard and soft molds, Susannah Shaw shares secrets on casting foam latex and silicone.
Alain Bielik interviews visual effects supervisor Joe Bauer about the CG modeling and digital transitions performed on Blade: Trinity.
Visual effects supervisor Kim Libreri explores the emerging trends in the industry and looks ahead with 12 predictions.
In the second of four installments on art direction for their book Inspired 3D Short Film Production, Jeremy Cantor and Pepe Valencia look at how color, texture and style help define characters and story.
Tara DiLullo explores how Animal Logic and Digital Pictures handled CG weaponry, complex color palettes, on-set choreographed fighting and wire removal in Zhang Yimous acclaimed House of Flying Daggers.
Continuing our monthly look at 3D environments, Stash magazines Stephen Price helped VFXWorld compile a gallery of some of the best 3D environments for Warhammer by Blur Studios and environmental pics by KDLAB.
We close our focus on 3D environments with Ellen Wolffs exploration of how Rob Legato conducted the virtual aerial combat choreography in The Aviator.
Isaac Kerlow looks at recent human 3D character animation developments in The Incredibles and The Polar Express.
Alan Bielik explores how Buf and MPC conquered Babylon and Alexandria armed with plenty of CGI.
In the first of our four-part series, animation supervisor David Schaub chronicles the process of bringing Robert Zemeckis' The Polar Express from conception to the big screen.
VFXWorld introduces a new column, The Digital Eye, which explores the future vfx implications of Sky Captain and the World of Tomorrow for guerilla filmmakers.
Continuing our monthly look at 3D environments, Stash magazines Stephen Price helped VFXWorld compile a gallery of some of the best 3D environments for Warhammer by Blur Studios and environmental pics by KDLAB.
Gene Deitch continues the hairy tails of eventually not making Charlottes Web.
Danny Fingeroth explores the post-9/11 vibe in this year's crop of superhero movies and the impact of seamless CGI.
Bill Desowitz gets to the bottom of how and why The Polar Express is the next hybrid CGI breakthrough with senior visual effects supervisor Jerome Chen.
In the first of four installments on art direction for their book Inspired 3D Short Film Production, Jeremy Cantor and Pepe Valencia delve into connect style with story.
Animator-turned director Daniel Robichaud tells Tulay Tetiker about the challenges of making the 3D-animated Pinocchio 3000 as a co-production of Canada, France and Spain.
