Tara DiLullo Bennett talks to production designers and art directors for three of the summer's biggest blockbusters, Ratatouille, Pirates of the Caribbean: At Worlds' End and Transformers about the role of concept art in their productions.
Janet Hetherington chats with //ADAPT co-founder Jean-Eric Hault as Montreal gears up for its second //ADAPT conference from Sept. 24 to 28.
Alain Bielik shines a spotlight on The Moving Picture Co.'s work for Danny Boyle's sci-fi space epic, Sunshine.
Rick DeMott travels to the revamped E3 and discovers a maturing gaming industry that has put playtime aside and focused on the business of playing games.
J. Paul Peszko sizes up the Art Gallery for SIGGRAPH 2007: Global Eyes, which embraces the explosion of digital technologies around the world.
In this month's edition of The Digital Eye, Bill Desowitz chats with acclaimed CG researcher Paul Debevec about chairing the SIGGRAPH 2007 Computer Animation Festival, to be held Aug. 5-9 at the San Diego Convention Center.
In the latest excerpt of Poser 7 Revealed, Kelly L. Murdock explains how to use the Simple Material panel.
For the first-time, ILM tackles mid-day CG water on the move for Evan Almighty and Thomas J. McLean finds out how they met the challenge.
In the latest excerpt of Poser 7 Revealed, Kelly L. Murdock explains how to work with default lights and how to add new light sources to a scene.
Bill Desowitz discovers how Transformers required some of the most complex modeling and animation ever attempted at Industrial Light & Magic.
It took extensive coordination among several vendors to pull off Live Free or Die Hard, and Alain Bielik reports on the results.
Weta Digital creates a unique, liquid shine for Silver Surfer in the Fantastic 4 sequel, and Thomas J. McLean goes behind-the-scenes to find out how.
Janet Hetherington talks to Canadian vfx professionals about why their companies are being tasked with providing effects for A-list productions such as 300, Superman, Fantastic Four: Rise of the Silver Surfer, Babylon 5: The Lost Tales and more.
Bob Swain reports on the continuing efforts of Cartoon Movie as a facilitator of animation technology, finance and development in the EU.
In this month's edition of "The Digital Eye," Darren Podrabsky describes the collaborative role that HP Halo played in facilitating the making of Shrek the Third.
This year marks the ninth Annual VES Festival, and VFXWorld provides a glimpse of some of the highlights, including the VES 50 panel.
In the latest excerpt of Poser 7 Revealed, Kelly L. Murdock walks you through the available preset cameras.
Water is everywhere for the second consecutive summer movie season, and J. Paul Peszko dives in once again to navigate the latest breakthroughs with ILM, PDI/DreamWorks Animation and Sony Pictures Animation.
For Pirates of the Caribbean: At World's End, ILM provides more innovative CG water along with other new delights. Bill Desowitz hits the deck for the latest swashbuckling VFX.
In the latest excerpt of Poser 7 Revealed, you'll learn how to attach props to elements.
Bill Desowitz speaks with Russian visual effects supervisor Vladimir Leschinski about Day Watch and the state of his country's industry.
Joe Strike reports on how they attained such lush-looks in Shrek the Third, Surfs Up and Ratatouille, thanks to the latest simulation, lighting and rendering advancements.
Taylor Jessen delves into some of the inspirations and challenges behind the three shorts recently honored by the SIGGRAPH 2007 Computer Animation Festival.
In this month's edition of "The Digital Eye," Jenny Fulle explains the strategy behind Imageworks' launch of new satellite facilities in Northern California, India and New Mexico.
Water is everywhere for the second consecutive summer movie season, and J. Paul Peszko dives in once again to navigate the latest breakthroughs with ILM, PDI/DreamWorks Animation and Sony Pictures Animation.
