With a new Blu-Ray release of the film debuting today, director Henry Selick shares stories behind the making of “The Nightmare Before Christmas” on its 25th anniversary.
The debate about 2d versus 3d animation is becoming increasingly irrelevant as more artists use an integrated 2d/3d approach thanks to the new generation of powerful animation tools.
Didn’t get to SIGGRAPH this year? Here’s a round-up of animation and vfx hardware and software announcements from the confab.
It’s been 20 years since Chris Landreth’s groundbreaking short “Bingo” showed the world what Maya 1.0 could do.
Directors Pierre Perifel, Liron Topaz, and JP Sans reveal how working on the new Dreamworks short transformed them as filmmakers.
A look at how e.d. films in Montreal has adopted the Unity game engine for animated filmmaking, and even developed its own real-time tools.
Animation supervisor Alan Hawkins shares animation secrets behind Blobby, Count Dracula’s bat transformations, and the Kraken.
Academy Award winner Ed Jones explains what it took to create “Who Framed Roger Rabbit” in the days before digital vfx.
We preview “Mighty Mike,” a one-of-a-kind animated series coming soon to Cartoon Network France.
Cartoon Network’s new “DIY” miniseries is a quirky and inspiring experiment, both conceptually and production-wise.
The latest Google Spotlight is as much experiment as short, pushing the limits of interaction between the viewer and character.
Pearl studio directors Glen Keane and Jill Culton will present more details about their projects at Annecy this week.
The prestigious SIGGRAPH computer graphics conference will include several animation-related technical papers.
How Framestore took facial and body mocap and made the metallic Colossus for “Deadpool 2.”
Read our quick primer on the latest “Star Wars” film: “Solo.”
Cartoon Brew spoke to Weta Digital and Digital Domain to find out how multiple studios working on the same vfx character can achieve a seamless performance.
An insight into Image Engine’s work as one of several vfx studios on the new Netflix series, “Lost in Space.”
Cartoon Brew’s vfx editor explains how he put together a conference track with major animation directors at the upcoming FMX conference in Germany.
A look at the steps involved in “Ready Player One”’s virtual production paradigm.
A desire to make the alien creatures scarier led to the last minute redesign for ILM.