Bill Desowitz recently caught up with Sheena Duggal of Sony Pictures Imageworks to discuss the promotional 3D short she directed about the Chicago Spire, the towering, twisting, opulent residential development project.
Bill Desowitz chats with Jeff Brown of NVIDIA about its recent acquisitions of mental images and AGEIA.
Amid the requisite exploding gore in Neil Marshall's new Doomsday, Thomas J. McLean uncovers the subtler vfx deployed by Double Negative to convey a dystopian future Scotland.
In this first of six excerpts from Maya 2008 Character Modeling and Animation, Tereza Flaxman explains how to create a smooth bind.
With this week's release of Tin Man on DVD, Tara Bennett caught up with Anthem Visual Effects about efficiency, mobats and going to town on Central City.
Alain Bielik tames the prehistoric beasts in 10,000 BC after speaking with the vfx vets at Double Negative and MPC.
Eddy Wong of Menfond tells Tara Bennett about the VFX thrills in Stephen Chow's latest Hong Kong actioner, CJ7.
VFX shots in the first half of the strike-interrupted fourth season of Lost played an important -- but supporting -- role. Karen Raugust gets the scoop from VFX Supervisor Mitch Suskin on the abbreviated season.
Fred Galpern reports back from GDC 2008 on the launch of Havok Cloth and Destruction, Star Wars: The Forced Unleashed, realtime rendering and more.
Bill Desowitz talks technology, convergence, The Force Unleashed and Star Wars: The Clone Wars with Richard Kerris, who recently left Apple to become CTO of Lucasfilm.
In this month's edition of "The Digital Eye," Bill Desowitz concludes his report on a recent Previs Roundtable discussion he moderated with a focus on videogames.
Tara DiLullo Bennett gets the scoop on Vantage Point: a low-key political thriller in which the vfx melt into the background.
BUF Compagnie is back with Michel Gondry on Be Kind, Rewind, and Alain Bielik is on the scene to find out what new vfx wrinkles are in store.
On the eve of the Academy Awards this Sunday, Bill Desowitz chats separately with Visual Effects Supervisors Scott Farrar, Mike Fink and John Knoll about CG robots, daemons and the Maelstrom.
Thomas J. McLean jumps to the heart of previs supervisor Laurent Lavigne and Wetas work on Jumper.
Tara DiLullo Bennett tackles the Super Bowl spots once again, this time speaking with Filmworkers Club, Framestore NY, the Mill, ka-chew! and Method.
J. Paul Peszko uncovers the secrets of The Spiderwick Chronicles, thanks to Industrial Light & Magic and Tippett Studio.
J. Paul Peszko talks to ILM's Christian Alzmann about the design of The Spiderwick Chronicle's Brothers Grimm fantasy world and the characters that populate it.
In this final excerpt of Poser 7 Revealed, Kelly L. Murdock describes how to access various pre-built Python scripts.
Asterix marks the biggest vfx achievement in France, and Alain Bielik has the scoop from Duboi, BUF Compagnie and Mikros Image.
Visual effects are no longer the sole game in town at Imagina. Is this typical of the new direction Imagina has taken, or is it heralding a more fundamental change in the future of vfx work?
In the latest excerpt of Poser 7 Revealed, Kelly L. Murdock shows how to use Poser with other valuable 3D packages.
Thomas J. McLean goes to The Eye doctor, Asylum, to find out all about the creepy vfx for this latest Americanization of an Asian horror hit.
Bill Desowitz gets the scoop on new innovations at Autodesk this year from Marc Petit, SVP of the Media & Ent. division.
Janet Hetherington talks to Chris Wise about his virtual vehicle designs and why he enjoys seeing the classy cars he creates get wrecked in videogames.
