In the second of a two-part series from the Inspired 3D Short Film Production book, filmmaker Morgan Kelly continues to explain how he made the short film The Terrible Tragedy of Virgil and Maurice.
Mary Ann Skweres sniffs out the 411 on UVPhactorys CG stylings for Pete Misers hip-hop video, Scent of a Robot.
Henry Turner heads out into the woods to uncover what haunting effects Wes Cravens Cursed beholds.
Bill Desowitz talks with visual effects supervisors from Harry Potter and the Prisoner of Azkaban, I, Robot and Spider-Man 2 about each others work.
Peter Plantec pontificates on the future of vfx and where todays hot trends are headed, so plug-in and read on.
David Schaub breaks down some of the key sequences and creative/technical challenges in the latest installment of his exclusive Polar Express Diary.
Bruce Shutan reports that it was back to basics for the 2005 Super Bowl spots, which continued the trend of seamless vfx.
Alain Bielik uncovers the demonic inspirations and digital challenges of bringing Hellblazer to the big screen as Constantine.
Alain Bielik speaks with ILM and Tippett Studio about raising the digital bar when it comes to cartoony CG antics in Son of the Mask.
Ellen Wolff traces Bob Abels legendary power to do magic on the eve of his posthumous VES honor.
Tulay Tetiker presents an overview of the many companies competing in the growing German visual effects industry.
In the second part of our Polar Express production diary, animation supervisor David Schaub chronicles the performance capture and "MoCap/Anim" processes.
Tara DiLullo goes behind the scenes to discover how vfx artist Joe Laffey made the attention-grabbing spec spot, X-Games Skateboard.
Gene Deitch looks at his diverse fan base, which ranges from lovers of Tom Terrific to his work on Weston Woods Studios projects.
Animal Logic creates a series of interstitials to complement Cartoon Networks international rebranding effort. Includes QuickTime clips!
In the first of a two-part series from the Inspired 3D Short Film Production book, Jeremy Cantor and Pepe Valencia ask student filmmaker Morgan Kelly to explain step-by-step how he made a short film at CalArts.
Rick DeMott talks with Gregg and Evan Spiridellis of JibJab Media and John Evershed of Mondo Media about how two firms vastly different during the dotcom bubble of 2000 have survived and now thrive on the Net.
Peter Plantec contributes to the Digital Eye column this month with a riff on the wizardry of previs.
Tulay Tetiker presents an overview of the many companies competing in the growing German visual effects industry.
Taylor Jessen reviews five short films: Gopher Broke by Jeff Fowler, In the Rough by Paul Taylor, Suite for Freedom by Aleksandra Korejwo, Caroline Leaf and Luc Perez, Oedipus by Jason Wishnow and A Bucks Worth by Tatia Rosenthal. Includes QuickTime movie clips!
Ellen Wolff chats with veteran visual effects supervisor Hoyt Yeatman on how he used pre-visualization to land his first directing gig on G-Force.
Peter Plantec contributes to the Digital Eye column this month with a riff on the wizardry of previs.
VFXWorld posts a quick guide to the Visual Effects Societys Big Reveal event, which allows artists nominated for VES Awards to show off their work.
In Part 2, Christopher Panzner looks at how independent producers have to be a vertically-integrated individual as well as a little of a cowboy to survive in the industry.
Jill Smolin attends the VFX Bakeoff and reports back on what visual effects wonders are being served for this years Oscar race.
