'The Eye': A Fresh VFX Transplant
Thomas J. McLean goes to The Eye doctor, Asylum, to find out all about the creepy vfx for this latest Americanization of an Asian horror hit.
Thomas J. McLean goes to The Eye doctor, Asylum, to find out all about the creepy vfx for this latest Americanization of an Asian horror hit.
Bill Desowitz gets the scoop on new innovations at Autodesk this year from Marc Petit, SVP of the Media & Ent. division.
Janet Hetherington talks to Chris Wise about his virtual vehicle designs and why he enjoys seeing the classy cars he creates get wrecked in videogames.
Digital Domain vfx artist Brad Herman describes what it was like working on two Oscar-nominated movies, Transformers and Pirates of the Caribbean: At Worlds End, with Massive as his specialty.
In this month's edition of "The Digital Eye," Bill Desowitz reports on a recent Previs Roundtable discussion he moderated at The Art Directors Guild.
Tara DiLullo Bennett tracks down Visual Effects Supervisor Kevin Blank and Lead Creature Designer Neville Page to get the scoop on the monster hit, Cloverfield.
The Academy held its annual VFX Bakeoff on Wednesday, and once again Jill Smolin provides a full report with exclusive breakdown clips!
VFX Supervisor Jim Lima tells Tara DiLullo Bennett about the rigors of doing right by Terminator: The Sarah Connor Chronicles on the small screen with feature quality effects.
In the latest excerpt of Poser 7 Revealed, Kelly L. Murdock shows how to enable several render effects.
J. Paul Peszko called up vfx supervisors Randy Goux and Patty Gannon to talk about the visual effects on the new horror film, One Missed Call.
Tara DiLullo Bennett goes behind the vfx scenes of Sweeney Todd: The Demon Barber of Fleet Street to catch the Tim Burton vibe.
In the latest excerpt of Poser 7 Revealed, Kelly L. Murdock shows how to render images in the Render panel.
With animated VFX receiving new recognition from VES and first-time Oscar consideration, J. Paul Peszko takes a deeper look at three contenders: Beowulf, Ratatouille and Surf's Up.
In the latest excerpt of Poser 7 Revealed, Kelly L. Murdock describes how to use the Talk Designer Interface so you can load sound files and set any head motions and emotional tweaks.
Weta Digital changes direction with The Water Horse, so Tara DiLullo Bennett finds out how from Joe Letteri.
The Strause brothers take on directing as well as VFX with AVP-R, and Colin tells Thomas J. McLean how they were able to improve efficiency.
In this month's edition of "The Digital Eye," Tim McGovern recounts his participation in the VES' recent five-city tour of India as the first step in creating a VES section there.
Peter Plantec analyzes the cognitive dissonance that's at the heart of the Uncanny Valley problem in creating virtual humans.
VFX Supervisor David Ebner pulls some digital strings on The Kite Runner and Bruce Shutan discovers how.
Beowulf marks the first vfx-intensive performance capture hybrid, so Jerome Chen offers his perspective on entering it in the Oscar race.
Rhythm & Hues was a natural for 3D-animating Alvin and the Chipmunks, and Ellen Wolff discovers how it met the "cute critter quotient" for this iconic project.
For I Am Legend, the vfx team at Sony Pictures Imageworks had to bring the apocalypse to Manhattan and Alain Bielik uncovers how it was done.
David Vana of UPP Prague discusses collaborating with Francis Ford Coppola in this VFXWorld exclusive.