'Lady in the Water': Shyamalan’s Latest Creature Feature
Alain Bielik uncovers ILMs creature work in M. Night Shyamalans latest fable, Lady in the Water.
VFXWorld Magazine
SIGGRAPH Art Gallery 2006: 'Intersections'
Mary Ann Skweres explores a few of the digital works being exhibited in SIGGRAPHs upcoming Art Gallery devoted to the theme Intersections.
Shake 4.1 Review
In the final part of our Superman Returns coverage, Bill Desowitz reports on the challenges and accomplishments met by several participating vfx studios.
HP’s xw8400 Workstation Review: Productivity Through the Roof
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.
Looting CG Treasure From 'Dead Man’s Chest' — Part 2
Bill Desowitz concludes our two-part coverage of Pirates of the Caribbean: Dead Mans Chest with a report on ILMs innovative Imocap system.
Looting CG Treasure From 'Dead Man’s Chest' — Part 1
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.
'Learning Maya 7': Set Up and Animation — Part 2
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.
'Superman Returns': The Passion of the VFX — Part 2
In the final part of our Superman Returns coverage, Bill Desowitz reports on the challenges and accomplishments met by several participating vfx studios.
'Learning Maya 7': Set up and Animation — Part 1
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.
The Digital Eye: Inside the SIGGRAPH 2006 CAF
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.
'Superman Returns': The Passion of the VFX — Part 1
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.
MoCap Education: It’s Come of Age
Mary Ann Skweres reports on what students need to know for planning a motion capture education. Includes QuickTime movie clip!
Game Education and the Merging of Industries
Jacquie Kubin reports on how the videogame, educational and software industries are working together to create the next generation of game creators.
What Recruiters Are Looking For
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.
3D Education: Meeting the Needs of a Changing Industry
Karen Raugust explores what the industry is looking for from vfx and 3D animation schools.
'Click' Diary: VFX in Freeze, Fast Forward & Rewind
Click visual effects supervisor Pete Travers discusses bringing the time shifting Adam Sandler comedy to life in this exclusive production diary.
The Digital Eye: Why Storyboards Still Work
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.
'The Fast and the Furious: Tokyo Drift': Hemi-Power VFX
Alain Bielik rides along with the visual effects artists on The Fast and the Furious: Tokyo Drift for a trip to a virtual Japan.
The Cat’s Meow: 'Garfield: A Tail of Two Kitties'
Renee Dunlop describes the vfx tale that brought Garfield back to the big screen in Garfield: A Tail of Two Kitties.
'Learning Maya 7': Rendering Features — Part 3
In the latest excerpt from Learning Maya 7 | Foundation, Marc-AndrGuindon and Cathy McGinnis conclude a three-part series on rendering.
modo 201 Review: New Texture Painting and Rendering
Alain Bielik discovers how Mainframe altered its design process to achieve more realistic MoCap for Tony Hawk in Boom Boom Sabotage.
'Learning Maya 7': Rendering Features — Part 2
In the latest excerpt from Learning Maya 7 | Foundation, Marc-AndrGuindon and Cathy McGinnis continue a three-part series on rendering.
'The Omen' Returns: Heed the Devilish VFX
Alain Bielik recounts how Cinesite (Europe) recreated the legendary death scenes in the remake of The Omen using state-of-the-art digital technology.
'X-Men': The Last VFX Stand
The VFX stakes were definitely raised for X-Men: The Last Stand. Tara DiLullo discusses the challenges with Cinesite, MPC and Weta Digital.
Water, Water, Everywhere...
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.
