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.
Taylor Jessen reviews five short films: Backseat Bingo by Liz Blazer, Fowl Play! by Christopher De Santis, Save Virgil by Brad Ableson, A Work in Progress by Wes Ball and Tricks for a Treat by Jeff Mednikow. Includes QuickTime movie clips!
Wrapping up the character design section from Inspired 3D Short Film Production, Jeremy Cantor and Pepe Valencia get into the feelings of the characters and how that effects design decisions.
Anil Wanvari and Anand Gurnani explore the blossoming visual effects industry in India, where 70% of the movies utilize digital magic to wow viewers.
Jim Whittington of TrendWatch analyzes the 3D market in the U.S. and reports back with the emerging trends and changes.
In a VFXWorld exclusive, Motoyoshi Tokunaga tells how he transformed the former Walt Disney Animation (Japan) into the indie Answer Studio.
Justin Leach chronicles his experiences as 3D CG creator on Ghost in the Shell 2: Innocence in this informative production journal.
Alain Bielik surveys the expanding 3D world in France.
