In the third installment of VFXWorlds exclusive production diaries, visual effects supervisor Jim Berney of Sony Pictures Imageworks chronicles the creation of photoreal Mr. Beaver from early test through final animation for The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. Includes QuickTime clips!
VFXWorld presents a new excerpt from Building Interactive Worlds in 3D by Jean-Marc Gauthier. This month's excerpt is a tutorial on creating an interactive path.
Bill Desowitz explores Wetas innovative work in building a CG Kong along with the dinos and other scary creatures on Skull Island. Includes QuickTime clips!
In this months Digital Eye column, Autodesks Tom Ohanian asks if there is such a thing as one-size-fits-all in todays accelerated production environment?
In the second installment of VFXWorlds exclusive production diaries, Rhythm & Hues Bill Westenhofer delves deeper into The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. Includes QuickTime movie clips!
Tara DiLullo talks with Academy Award nominated ILM visual effects supervisor Pablo Helman about winning the invisible visual effects war with their work on Jarhead.
Tara DiLullo gets pulled into SCI FI Channels The Triangle with Volker Engel and Marc Weigert of Uncharted Territory.
VFXWorld presents a new excerpt from Building Interactive Worlds in 3D by Jean-Marc Gauthier. This months excerpt is a tutorial on setting up a camera inside an interactive racetrack.
Alain Bielik talks with the visual effects artists behind Aeon Flux to find out how they handled turning the superhuman animated adventures of the title character into a live-action feature.
In the first installment of VFXWorlds exclusive production diaries, Rhythm & Hues Bill Westenhofer talks about R&D and principle photography on The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.
In the final part of his in-depth report on the fourth Harry Potter blockbuster, Alain Bielik discusses several of the eye-opening vfx performed by various companies.
In the first part of his in-depth report on the fourth Harry Potter blockbuster, Alain Bielik discusses several of the eye-opening vfx performed by various companies.
Jacquie Kubin looks into how motion capture technology is helping drive the technical improvements in the next-generation systems.
Tara DiLullo talks with Academy Award nominated ILM visual effects supervisor Pablo Helman about winning the invisible visual effects war with their work on Jarhead.
This month Dr. Toon plays the “What If” game to see how the world of animation would be different if in an alternative reality Dick Tracy was an animated star, Bob Clampett lived longer or Walt Disney never lost Oswald the Rabbit.
Janet Hetherington takes a look at how videogames based on movies are being packed with original content to keep players happy and film franchises alive.
In this months Digital Eye column, Kim Davidson of Side Effects Software explores refining pipelines to improve production quality, reduce costs and remain competitive.
With the holidays comes holiday parties. The Career Coach gives some quick tips on how to get more out of the festivities than just chips and dips.
In the last installment of his exclusive Polar Express production diary, David Schaub breaks down characters and performances that were keyframed.
Ellen Wolff talks with Sony Imageworks Pete Travers about launching Zathura into cinematic outer space.
On the heels of last months opening of Lucasfilm Animation Singapore, Barbara Robertson discusses the operation and production plans with gm Christian Kubsch.
VFXWorld presents a new excerpt from Building Interactive Worlds in 3D by Jean-Marc Gauthier. This month's excerpt is a tutorial on setting up a camera inside an interactive racetrack.
Bill Desowitz chats with ILMs Joel Aron about the challenges of converting Chicken Little into the all-new Disney Digital 3-D process.
With console platforms evolving, Karen Raugust looks into how gaming companies are increasingly looking to film, Web design, broadcasting and elsewhere to round out their development teams.
Alain Bielik reports on Les Chevaliers du Ciel, the most ambitious photoreal vfx movie ever made in France, thanks to the noteworthy work of La Maison.
