Web-based Sanctuary, episodic storytelling might render network television production and ...
The world of Sanctuary is created entirely in CG, with greenscreen technology, 3D environm...
There's no question that the vfx in Poseidon broke new ground with water, fire, oil smoke ...
The characters in Monster House are indeed human, but Sony Imageworks approached them almo...
Night at the Museum's vfx team started by building a CG replica of the full-size T-Rex ske...
Lighting played a crucial role in the vfx work in Happy Feet. A lighting arc was created f...
Sony Imageworks raised the vfx bar on Spider-Man 3 with the introduction of three new supe...
Day Watch and the previously released Night Watch are watershed films for Russian vfx.
Day Watch and the previously released Night Watch are watershed films for Russian vfx. Bot...
Preview AWN's exclusive SIGGRAPH 2007 TV daily video netcast! Beginning Aug. 6th, we'll be...
Conversation with 'Surf's Up' vfx supervisor Rob Bredow. Cooke lenses technical innovation...
At SIGGRAPH 2007, fxguidetv's John Montgomery chats with Sony Pictures Imageworks vfx supe...
Seven vendors contributed around 650 vfx shots to the final cut of Fred Claus.
Featured in more than 500 shots, the daemons were created via 3D animation at Rhythm & Hue...
More than 2,000 vfx for Pirates of the Caribbean: At World's End were completed on a sched...
Check out the effects work done on "Asterix at the Olympic Games."
Tin Man had a scaled down vfx cable budget that had to be spread over an ambitious six hou...
vfx breakdown for The Ballad of Tina Pink and Academy of Dreams.
CaféFX's work included creating actions for CG animals that are theoretically possible bu...
Nim's Island actually started with the intention of being a very practical shoot, with lit...