Marisa Materna chats with director Richard Linklater on the production of A Scanner Darkly, which utilizes interpolated rotoscoping to bring live-action footage into an animated dream world.
Bill Desowitz concludes our two-part coverage of Pirates of the Caribbean: Dead Mans Chest with a report on ILMs innovative Imocap system.
ILM raises the character animation bar with Pirates of the Caribbean: Dead Mans Chest, and Bill Desowitz gets an overview from John Knoll and Hal Hickel.
In this last excerpt from Learning Maya 7 | Foundation by Marc-AndrGuindon and Cathy McGinnis, we conclude a two-part series on set-up and animation.
In the final part of our Superman Returns coverage, Bill Desowitz reports on the challenges and accomplishments met by several participating vfx studios.
In the latest excerpt from Learning Maya 7 | Foundation,by Marc-AndrGuindon and Cathy McGinnis, we begin a two-part series on set-up and animation.
J. Paul Peszko talks with the recruiters at top animation and visual effects studios regarding the intangibles that will help land you your dream job.
In the first part of our Superman Returns coverage, Bill Desowitz explores how Sony Pictures Imageworks advances its animation techniques to enable The Man of Steel to fly.
Mary Ann Skweres reports on what students need to know for planning a motion capture education. Includes QuickTime movie clip!
Jacquie Kubin reports on how the videogame, educational and software industries are working together to create the next generation of game creators.
J. Paul Peszko talks with the recruiters at top animation and visual effects studios regarding the intangibles that will help land you your dream job.
Karen Raugust explores what the industry is looking for from vfx and 3D animation schools.
Click visual effects supervisor Pete Travers discusses bringing the time shifting Adam Sandler comedy to life in this exclusive production diary.
In response to a previous Digital Eye column on why storyboards dont work, veteran previs artist Peter Rubin offers a counter argument about why they are not obsolete.
Alain Bielik rides along with the visual effects artists on The Fast and the Furious: Tokyo Drift for a trip to a virtual Japan.
Renee Dunlop describes the vfx tale that brought Garfield back to the big screen in Garfield: A Tail of Two Kitties.
In the latest excerpt from Learning Maya 7 | Foundation, Marc-AndrGuindon and Cathy McGinnis conclude a three-part series on rendering.
Alain Bielik discovers how Mainframe altered its design process to achieve more realistic MoCap for Tony Hawk in Boom Boom Sabotage.
In the latest excerpt from Learning Maya 7 | Foundation, Marc-AndrGuindon and Cathy McGinnis continue a three-part series on rendering.
Alain Bielik recounts how Cinesite (Europe) recreated the legendary death scenes in the remake of The Omen using state-of-the-art digital technology.
The VFX stakes were definitely raised for X-Men: The Last Stand. Tara DiLullo discusses the challenges with Cinesite, MPC and Weta Digital.
J. Paul Peszko dives into the extraordinary advances in CG water on display this summer in Poseidon and Pirates of the Caribbean: Dead Mans Chest.
Karen Raugust looks at how Disney and other studios are re-energizing their staffs and positioning themselves for the on-demand future with a steady stream of animated shorts.
For its newest short, The Little Matchgirl, Disney turns again to the fabled Hans Christian Andersen. Bill Desowitz reports on the innovative and uncompromising results.
Philippe Moins turns the pages on Astix film production history to offer perspective for the latest animated feature, Astix et les Vikings, moving across European theaters.
