Showrunner Anton Vereschagin shares the pipeline and tech challenges that come with producing a high-quality cg series in Russia.
Animating fur in “Missing Link” required a combination of old-fashioned craftsmanship and tech-savvy vfx.
How the Blender team made a main character for their latest short film.
De-ageing visual effects have certainly been done before, but never to this scale.
The Stuttgart vfx and animation conference is not far away – here’s our guide to making the most of the event.
Cartoon Brew gets an early preview of Ollie VR, a new tool designed to ease people into animating in vr.
It’s breakdown season – here’s our guide to some of the best making of clips, reels, and behind-the-scenes featurettes.
Having been at the helm of all three “How to Train Your Dragon” films, DeBlois has witnessed major changes in editorial processes, effects, and rendering.
With “Alita: Battle Angel” poised for release, we take a look at the state of play in photorealistic cg humans.
Forty minutes of quality keyframed animation every month? This Montreal studio is doing it.
A new app turns iPhones into virtual cameras for cg production.
What’s ahead in vfx for 2019: a look at the upcoming superhero films, sequels, and live-action adaptations of animated classics and video games.
The filmmakers of “Welcome to Marwen” came up with an innovative and cost-effective technique to create its miniature doll characters.
In the first of a two-part series, we explore the production design of “Age of Sail,” “Bao,” “Bilby,” “Lost & Found,” and “One Small Step.”
From giving animators greater rigging control to refining the ability to time transformations more precisely, ILM has perfected the technical animation art of the transformation.
The audience’s read on a character is “so influenced by how their hair looks,” says ILM vfx supervisor Jeff White.
Weta Digital animation supervisor Dennis Yoo explains how they managed to make enormous cities move on wheels for the film.
Why Imageworks had to ‘break’ their animation and VFX pipeline to make “Spider-Man: Into The Spider-Verse.”
Bidding and budgeting in vfx is a “dark art” to some – but it doesn’t have to be.
Cartoon Brew makes sense of the virtual production phenomenon, and provides resources that filmmakers can use to start experimenting with virtual production techniques.