‘Who Framed Roger Rabbit’ Hits 30: A Look Back At ILM’s Astonishing Old-School Optical VFX
Academy Award winner Ed Jones explains what it took to create "Who Framed Roger Rabbit" in the days before digital vfx.
Academy Award winner Ed Jones explains what it took to create "Who Framed Roger Rabbit" in the days before digital vfx.
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.
Wes Anderson's new film is already breaking barriers, becoming the first animated feature to open the Berlinale festival. What else can it do for animation art?
A busy February weekend in both the U.S. and China resulted in both hits and misses.
One of the darkest of the Oscar-contending animated features, "Birdboy: The Forgotten Children" explores how external matters like pollution and drugs can contaminate the interior of its characters.
Coming next Christmas.
Made at the height of the 2d animation boom in the United States, "Anastasia" was the highest-grossing film that Don Bluth and Gary Goldman ever made.
Visual effects legend Phil Tippett looks back at two decades since "Starship Troopers," and shares recently unearthed location scout and on-set video from the film.
A new animation festival taking place all weekend in Los Angeles will present the innovative animated features being produced around the world.
"Bambi" offered a warning to humanity, but no one listened.
Old man yells at computer graphics, vfx supervisor corrects him.
"The animation market is exploding worldwide," says Nigeria's culture minister, and he wants the country to be a part of it.
The co-founder of Moonbot Studios has been involved with many animated features, but "The Extincts" will be the first one he directs.
Pixar is pushing photorealism in cartoons to a new level with "Cars 3."
The animation and design of ‘The Boss Baby’ is a deliberate throw-back to old-school styles.
There's more than a few ways to fund an animated feature nowadays, but the surest one of all is to simply be the child of a billionaire.
"It’s not going to look like a Pixar movie, where you see money on the screen," says "Ernest & Celestine" director Benjamin Renner.
As entertaining and satisfying as "Zootopia" may be on a scene-by-scene basis, the movie ultimately fails because it insists on having it both ways simultaneously - anthropomorphic and metaphoric.
VFX artists: underpaid, overworked, uncredited, and mentally abused. A new documentary exposes the problem.