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 create a 3D immersive environment.
Alain Bielik discovers how illustrator/director Dave McKean weaved a surreal fantasy world for MirrorMask using the digital backlot.
Alain Bielik talks with MotionFX and lair Numique about their work on Roman Polanskis Oliver Twist, and asks for more.
Peter Plantec explores with a host of artists why ZBrush 2 is changing the modeling landscape in the VFX world.
Alain Bielik explores how Zoic Studios made the transition from TV to features with Serenity, including the challenge of creating a new pipeline dubbed Zlogic.
John Cawley speaks candidly with various interns regarding what they wish they taught in school now that theyve gotten a taste of the working world.
Sharon Adcock reports on such exploding global trends as DI and data-centric workflow at the recent IBC 2005 tradeshow in Amsterdam.
Barbara Robertson discovers how Worlds Away uses 3ds Max to animate the new IFC series, Hopeless Pictures.
Bill Desowitz traveled to London to visit the set of Tim Burtons Corpse Bride, and reports back on the innovative puppetry and groundbreaking digital shoot.
Tara DiLullo speaks with Rome visual effects supervisor James Madigan about the daunting and exciting challenge of producing feature quality vfx for the new series on HBO.
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 create a walk animation and export to Virtools.
Barbara Robertson speaks with Lucasfilm cto Cliff Plumer to find out more about the technology of the future from someone at the forefront of innovation.
Tara DiLullo looks at the CGI transformation of The New Captain Scarlet, which begins a second season this month on U.K. television.
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 on how to bring your creation to life.
Mary Ann Skweres speaks with A Sound of Thunder visual effects supervisor Tim McGovern about the challenges of bringing Ray Bradburys prehistoric and futuristic sci-fi classic to the big screen.
In this months Digital Eye, Peter Plantec delves into the new Genesis digital imaging camera and how it will help vfx artists around the world.
Barbara Robertson speaks with Lucasfilm cto Cliff Plumer to find out more about the technology of the future from someone at the forefront of innovation.
Barbara Robertson speaks with Lucasfilm cto Cliff Plumer to find out more about the technology of the future from someone at the forefront of innovation.
Alain Bielik does some spurlunking with the visual effects artists behind The Cave and unearthes some CG creatures.
Alain Bielik enters director Terry Gilliams fairy tale, The Brothers Grimm, to uncover the vfx wizards who brought the world to life.
Vfx/animation companies and suppliers are constantly raising the bar when it comes to rendering. Janet Hetherington takes a look at advancements in rendering, concerns about scalability and how full spectral rendering could affect the shape of things to come.
Peter Plantec interviews Stanford professor Ron Fedkiw and Scanline Production GmbH head Stephan Trojansky about their advances in fluid dynamics.
Fred Galpern explores the latest in digital art wonders from Ballistic Publishing with his overview.
The Career Coach gives strategies and tips on how to work the job fair, especially at SIGGRAPH 2005.
Rick DeMott opens up the new coffee table book, The Cinema of George Lucas, to discover more about the art of the man behind Star Wars.
