Bill Desowitz reveals how production designer Alex McDowell and previs supervisor Nic Hatch set up a centralized previs unit unique to the U.K. to meet the 3D design challenges of Charlie and the Chocolate Factory.
ILMs Eric Brevig discusses with Ellen Wolff the challenges of matching virtual CG work with live-action cinematography on The Island.
Michael Burns surveys the U.K. digital design scene for exciting talent, styles and trends.
Several of the visual effects supervisors on Charlie and the Chocolate Factory tell Alain Bielik how they managed to incorporate complex CGI.
Animation World Network and VFXWorlds staff report back about the various secrets revealed at the Visual Effects Societys Festival of Visual Effects 2005.
With Illuminate Labs set to launch Turtle 2.0 at SIGGRAPH 2005, Xen Wildman provides a sneak peek of its new and improved features.
In this last excerpt from Inspired 3D Short Film Production, Jeremy Cantor and Pepe Valencia discuss how to safeguard your digital files and create backup plans.
Henry Turner talks to famed visual designer Syd Mead about his influential work on Blade Runner, old school vs. digital tools and the luxurious SUD.
Ryan Church tells Ellen Wolff all about the design challenges of working with George Lucas and Steven Spielberg on two of this summers hottest movies.
In the eighth part of the production planning chapter from the book, Inspired 3D Short Film Production, Jeremy Cantor and Pepe Valencia discuss the importance of managing and organizing the digital assets for a production.
Janet Hetherington checks in with independent animators across Canada to find out whats hot and whats not on the Canadian animation scene.
Tara DiLullo discovers how Giant Killer Robots, Stan Winston Digital and Soho VFX pulled off the vfx wonders of Fantastic Four.
Bill Desowitz gets ILMs Dennis Muren, Pablo Helman and Randy Dutra to divulge some of their vfx secrets for Steven Spielbergs War of the Worlds.
Bill Desowitz gets ILMs Dennis Muren, Pablo Helman and Randy Dutra to divulge some of their vfx secrets for Steven Spielbergs War of the Worlds.
Isaac Kerlow explores what it means to be a vfx artist today and how students should prepare to be the vfx artists of tomorrow.
Ellen Wolff reports on the latest developments in Sony Pictures Imageworks innovative new faculty-based training program called IPAX.
Alain Bielik uncovers the digital challenges in conveying the various personalities exhibited by Herbie, the lovable VW bug, in the latest sequel.
Alain Bielik talks with the visual effects wizards behind the magical transformation of Bewitched from the small screen to the silver screen.
Tara DiLullo sets out on an adventure to discover the details of director Robert Rodriquezs return to 3D and family fare with The Adventures of Shark Boy and Lava Girl in 3-D.
Karen Raugust looks at how Indian animation programs are teaming up with studios and software providers to expand the countrys workforce as its 3D industry grows.
VFXWorld polled its readers to see how they are training for their careers and getting jobs. Rick DeMott reports back with the findings and highlights.
Craig Zerouni looks at the state of CG and wonders if weve reached the end of significant technological breakthroughs in the medium.
Dariush Derakhshani talks with recruiters and other industry insiders about hiring trends to help you ride a new career wave.
Comic pro Danny Fingeroth talks with Double Negatives visual effects supervisor Paul Franklin about bringing Batman Begins to the big screen.
Comic pro Danny Fingeroth explores how director Christopher Nolan and the vfx teams have embraced a back to basics approach on Batman Begins.
