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.
“Crow: The Legend” sees the studio mix story narrative and interaction in a big way.
Behind the scenes of the uniquely styled photocollage/2d/3d G-Shock ads featuring the animated Gorillaz.
If you thought 2018 was a big year for animated features, just wait until 2019.
Two of the hardest things to produce in visual effects animation are snow and fur – two of the main elements required for “Smallfoot.”
We invited industry pros to tell Cartoon Brew readers what’s inspiring them right now.
Who’s in and who’s out – here’s a look at the field of contenders for the visual effects Academy Award.
Venom’s many forms and many states meant vfx artists had a lot of problems to solve.
An oral history of PDI’s tech behind the making of “Antz,” which is celebrating its 20th anniversary.
Two animators from Flight School Studio reflect on the challenges of vr animation.
We talk to Studio2 Animation Lab about translating their popular “Barkley and Friends” property into a children’s vr series.
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.