Fred Galpern talks to Massive Black, the San Francisco-based indie team of concept artists, sculptors and animators. They are the go-to guys when the entertainment industry needs visual development and asset creation.
AWN and VFXWorld editors Bill Desowitz, Sarah Baisley and Rick DeMott attended the VES Festival of Visual Effects, reporting back on secrets to the magic that were on display.
Fred Galpern takes a sneak peek at Mudbox, the soon to be released digital sculpting tool from Skymatter, and the beta report is sure to whet your appetite.
J. Paul Peszko finds a collaborative relationship between conceptual artists and vfx teams on the biggest of visual effects blockbusters.
Alain Bielik uncovers ILMs creature work in M. Night Shyamalans latest fable, Lady in the Water.
Mary Ann Skweres explores a few of the digital works being exhibited in SIGGRAPHs upcoming Art Gallery devoted to the theme Intersections.
In the final part of our Superman Returns coverage, Bill Desowitz reports on the challenges and accomplishments met by several participating vfx studios.
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.
Bill Desowitz concludes our two-part coverage of Pirates of the Caribbean: Dead Mans Chest with a report on ILMs innovative Imocap system.
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.
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.
In the final part of our Superman Returns coverage, Bill Desowitz reports on the challenges and accomplishments met by several participating vfx studios.
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.
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.
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.
Mary Ann Skweres reports on what students need to know for planning a motion capture education. Includes QuickTime movie clip!
Jacquie Kubin reports on how the videogame, educational and software industries are working together to create the next generation of game creators.
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.
Karen Raugust explores what the industry is looking for from vfx and 3D animation schools.
Click visual effects supervisor Pete Travers discusses bringing the time shifting Adam Sandler comedy to life in this exclusive production diary.
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.
Alain Bielik rides along with the visual effects artists on The Fast and the Furious: Tokyo Drift for a trip to a virtual Japan.
Renee Dunlop describes the vfx tale that brought Garfield back to the big screen in Garfield: A Tail of Two Kitties.
In the latest excerpt from Learning Maya 7 | Foundation, Marc-AndrGuindon and Cathy McGinnis conclude a three-part series on rendering.
Alain Bielik discovers how Mainframe altered its design process to achieve more realistic MoCap for Tony Hawk in Boom Boom Sabotage.
