In the sixth part of the production planning chapter from the book, Inspired 3D Short Film Production, Jeremy Cantor and Pepe Valencia discuss more helpful tips in creating a successful CG short.
Bruce Shutan looks at how Gray Matter FX relies on the art of subtlety to bring Lords of Dogtown to life.
Ryan Lesser reveals how 3ds Max 7.5 packs a pretty mean punch with its new hair and fur system.
In honor of the last Star Wars movie, Episode III Revenge of the Sith, VFXWorld concludes its three-part series with an in-depth look at the making of the newest villain, the CG General Grievous.
This month's Digital Eye has Peter Plantec giving the down low info on the big visual effects to come in 2005.
Rick DeMott investigates the world of low budget genre films and discovers that visual effects are making it easier and cheaper to do independent productions.
In honor of the last Star Wars movie, Episode III Revenge of the Sith, VFXWorld continues its three-part series with an in-depth look at ILMs ramping up of digital environments.
Andy Stout reports on how Optical Art and The Foundry collaborated on a new DI process to achieve the soft and surreal look in the latest feature from the Brothers Quay.
Libby Reed cracks open animation vet Martha Sigalls new book, Living Between the Lines: Tales from the Golden Age of Animation, and finds the line between biography and history.
With the long-awaited release of Paul Schraders Exorcist prequel, Alain Bielik unearths the secrets of Proximas digital success.
In honor of the last Star Wars movie, Episode III Revenge of the Sith, VFXWorld begins its own trilogy with an overview of ILMs technical achievements in George Lucas second triptych. This will be followed by Sith articles exploring digital environments and the making of the newest CG villain, General Grievous.
Alain Bielik explores how MPC improved its motion capture and crowd simulation toolset for the siege of Jerusalem in Kingdom of Heaven.
Tony Cristiano looks at the lightning speed advances in the visual effects industry and how it affects the big studios vs. the smaller ones.
Tara DiLullo explores the challenges of mixing practical and visual effects for Photon VFX in updating House of Wax for the Paris Hilton crowd.
Tim Miller talks about parlaying commercial success at Blur Studios into a flourishing shorts program.
Peter Plantec reports back from fmx/05 in Stuttgart, Germany, after experiencing an invigorating and intimate kind of DCC conference rooted in real-world and academic synergy.
In part five of the production planning section of Inspired 3D Short Film Production, authors Jeremy Cantor and Pepe Valencia discuss raising cash, simplifying the intended cinematic vision, expanding production time and lowering production costs.
Alain Bielik explores how MPC improved its motion capture and crowd simulation toolset for the siege of Jerusalem in Kingdom of Heaven.
Tara DiLullo explores the challenges of mixing practical and visual effects for Photon VFX in updating House of Wax for the Paris Hilton crowd.
In this months Digital Eye column, Peter Plantec looks at the nomadic nature of the visual effects industry.
In the fourth part of the production planning chapter from the book, Inspired 3D Short Film Production, Jeremy Cantor and Pepe Valencia tackle the issues of budgets.
Mary Ann Skweres hops aboard The Hitchhikers Guide to the Galaxy with the clever, creative vfx crew at Cinesite.
Alain Bielik signs up for the mission looking into the extreme effects ILM performed for XXX: State of the Union.
Bill Desowitz looks at the reemergence of 3D with big pushes by IMAX and George Lucas, James Cameron, Robert Zemeckis, Robert Rodriguez and Peter Jackson.
In this months Digital Eye column, Peter Plantec looks at the nomadic nature of the visual effects industry.
