In this third of six excerpts from Maya 2008 Character Modeling and Animation, author Tereza Flaxman provides an introduction to the two basic methods for creating and controlling NURBS curves in Maya.
Autodesk's SVP Marc Petit talks to Bill Desowitz exclusively about the strategy behind his company's recent acquisitions.
To make Iron Man fight and fly in a convincing suit of armor required a lot of creative and complicated CG work. Thomas J. McLean gets the scoop from ILM and The Orphanage on the first summer blockbuster.
Virtual filmmaking is energizing the industry and leading to a more creative climate for directors and other filmmakers, according to Robert C. Powers (Avatar, Tintin).
Janet Hetherington chats up three short films that make noteworthy use of VFX, including animated papers, a dancing column and a water man.
Ryan Lesser tests the new 3ds Max 2009 and is pleasantly surprised at how useful the new tools are, even for a humble game developer.
Bill Desowitz returns to Las Vegas to report on some of the highlights of the recent NAB2008, which elicited a lot of interest in 3-D technology and aesthetics.
In this month's edition of "The Digital Eye," Roma O'Connor, exec producer of CIS London, reports on the advantages and challenges of CIS' presence in three far-flung countries.
Karen Raugust reports on how the famed AI-based 3D animation system is being adopted by key VFX/animation schools.
Director Rob Minkoff and Senior VFX Supervisor Ron Simonson tell Thomas J. McLean what's behind The Forbidden Kingdom.
Peter Plantec previews the speakers, presentations and parties that will make fmx/08 the most fun media conference of the year.
Tara Bennett talks Eli Stone with Stargate Digital's Sam Nicholson. That means fire-breathing dragons, collapsing The Golden Gate Bridge, going to the Himalayas and shooting George Michael on greenscreen.
Bill Desowitz chats with Jeff Barnes, co-founder of The ComputerCafe Group and the new chairman of the VES, about the state of VFX and the Society's new direction.
Karen Raugust reports on how the famed AI-based 3D animation system is being adopted by key VFX/animation schools.
Alain Bielik visits The Ruins with Rising Sun Pictures, which devised a new system for animating the nasty, man-eating vines.
Tara Bennett pays a visit to Nim's Island with CafeFX and others to explore the CG pelicans, sea lions and lizards.
In this second of six excerpts from Maya 2008 Character Modeling and Animation, author Tereza Flaxman explains how to better control the deformation around joints.
Anupam Das of EA tests Houdini 9.1 and discovers several improvements, including FBX support and new additions to fluid and animation tools.
In this month's edition of "The Digital Eye," Autodesk's Maurice Patel explores how gaming is driving VFX and Design Visualization through performance, interaction and immersion.
Dave Schaub of Sony Pictures Imageworks tells Bill Desowitz all about the additional animation in the alternate ending for I Am Legend, now on DVD/Blu-ray.
Fred Galpern catches up with Ben Mathis to find out more about his career after recently leading the GDC Visual Arts Track on Maxon BodyPaint.
Karen Raugust explores some recent and noteworthy commercials from Framestore CFC, MPC, Digital Domain, Method Studios, RIOT and Radium in search of the creative process behind them.
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.
