In the final part of his in-depth report on the fourth Harry Potter blockbuster, Alain Bielik discusses several of the eye-opening vfx performed by various companies.
In the first part of his in-depth report on the fourth Harry Potter blockbuster, Alain Bielik discusses several of the eye-opening vfx performed by various companies.
Jacquie Kubin looks into how motion capture technology is helping drive the technical improvements in the next-generation systems.
Tara DiLullo talks with Academy Award nominated ILM visual effects supervisor Pablo Helman about winning the invisible visual effects war with their work on Jarhead.
This month Dr. Toon plays the “What If” game to see how the world of animation would be different if in an alternative reality Dick Tracy was an animated star, Bob Clampett lived longer or Walt Disney never lost Oswald the Rabbit.
Janet Hetherington takes a look at how videogames based on movies are being packed with original content to keep players happy and film franchises alive.
In this months Digital Eye column, Kim Davidson of Side Effects Software explores refining pipelines to improve production quality, reduce costs and remain competitive.
With the holidays comes holiday parties. The Career Coach gives some quick tips on how to get more out of the festivities than just chips and dips.
In the last installment of his exclusive Polar Express production diary, David Schaub breaks down characters and performances that were keyframed.
Ellen Wolff talks with Sony Imageworks Pete Travers about launching Zathura into cinematic outer space.
On the heels of last months opening of Lucasfilm Animation Singapore, Barbara Robertson discusses the operation and production plans with gm Christian Kubsch.
VFXWorld presents a new excerpt from Building Interactive Worlds in 3D by Jean-Marc Gauthier. This month's excerpt is a tutorial on setting up a camera inside an interactive racetrack.
Bill Desowitz chats with ILMs Joel Aron about the challenges of converting Chicken Little into the all-new Disney Digital 3-D process.
With console platforms evolving, Karen Raugust looks into how gaming companies are increasingly looking to film, Web design, broadcasting and elsewhere to round out their development teams.
Alain Bielik reports on Les Chevaliers du Ciel, the most ambitious photoreal vfx movie ever made in France, thanks to the noteworthy work of La Maison.
VFXWorld presents a new excerpt from Building Interactive Worlds in 3D by Jean-Marc Gauthier. This month, from the Basic 3D Kit, we present a tutorial how to import a character.
Tara DiLullo has seen Saw II and survived to tell us if C.O.R.E. Digital Pictures effects make the cut.
Alain Bielik looks at how Peerless Camera and Digiscope made their mark on The Legend of Zorro.
Bruce Shutan explores the workload and trends that are driving several prominent vfx studios around the world.
Ryan Lesser reviews the newest tools available in Autodesks 3ds Max, including pelt mapping, render UVW template functionality, skinning, modeling and animation.
Alain Bielik chats with Framestore CFC and Double Negative about creating the character animation and environmental vfx, respectively, in Doom.
In this months Digital Eye column, Sony Pictures Imageworks Jenny Fulle describes how globalization is enriching the VFX experience that filmmakers bring to their work here and abroad.
Is Digital Intermediate evolving from a post-production facilitator into a creative force of its own? Janet Hetherington chats with industry experts about how DI is transforming the industry.
Carolyn Giardina reports on DI, honoring Phil Tippett and other panels at the recently concluded eDIT 8. Filmmakers Festival in Frankfurt, Germany.
Tara DiLullo speaks with Hydraulx co-owner Greg Strause about remaking John Carpenters The Fog as a series of sophisticated, organic CG effects.
