How Framestore took facial and body mocap and made the metallic Colossus for “Deadpool 2.”
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.
The Mill is developing new ways of creating relatable and appealing character animation in real-time.
A look at all the intense work that went into the cinematography of Wes Anderson’s “Isle of Dogs,” before a single frame is ever animated.
Here’s what it took to animate the giant Jaeger robots in “Pacific Rim Uprising.”
“Isle of Dogs” animation director Mark Waring breaks down the animation process on Wes Anderson’s new stop-motion tale.
Behind the scenes of FuseFX’s Very Large Man digital human created for the Amazon series “The Tick.”
How Aardman Animations pulled off the hilarious massage scene in Nick Park’s “Early Man.”
Many animated features are made as co-productions nowadays. But how do studios actually collaborate on a film? We spoke with Toronto-based Guru to learn how they worked with Ireland’s Cartoon Saloon on “The Breadwinner.”
We look at how vfx studio Luma Pictures helped deliver that high-octane car chase scene for Ryan Coogler’s blockbuster superhero film.
Get ready to see a lot more 3D content on your Facebook news feed, but how do you get it there and what can you do with it?
Five vfx supes from the five vfx Oscar-nominated films share tips for collaborating with film directors.
A very candid chat about the challenges of making of “Peter Rabbit.”
A real-time rendering pipeline using Unreal Engine 4 helped make possible this soon-to-be-released feature from Pakistan.
A look at how ILM and Andy Serkis’ Snoke continued to evolve during production on the latest “Star Wars” film.