How They Did It: Jérémy Clapin Explains The Unconventional Production Process Of ‘I Lost My Body’
Director Jérémy Clapin walks us through the making of his new feature "I Lost My Body."
Director Jérémy Clapin walks us through the making of his new feature "I Lost My Body."
The winners have been announced for the 2019 “Animation At Work” Contest for films that use Reallusion's Cartoon Animator software.
Disney's sequel is a huge hit — but the studio is presenting it as an even bigger success than it is.
The hybrid film pairs Harrison Ford with a cg dog.
Matt Williames talks us through the special appeal and unprecedented challenges of working on Sergio Pablos's "Klaus."
Director Simón Wilches-Castro explains what inspired the eye-popping design of his film, which updates the classic story for our age of disillusion.
An exclusive preview of the art book that accompanies Netflix's new hand-drawn feature.
In his debut feature "The Tower," Grorud draws on personal experience to tell a story of Palestinian refugees that spans five generations.
Actors don't want themselves recreated in animation, except when they do.
Kanye West's favorite animated film will be screened next month in L.A.
We spoke to the artists and developers behind "Later Alligator," "Knights and Bikes," and "River City Girls" about their games' stylized visuals.
How three female-directed features use animation to explore complex social themes.
A director talks us through the ups and downs of making a low-budget cg animated feature.
The creators of "South Park" are about to get even richer.
A video essay that explains how Pixar recreates the effects of real camerawork in its virtual worlds.
Animator Ayane Nakamura explains why she's dependent on donations from strangers to get by in her career.
The vfx and animation company employs nearly 7,000 people worldwide.
Disgraced studio head Bob Weinstein is trying to sneak back into the film industry through animated films.
"It’s really in vogue to evoke old things to roll your eyes at them and sneer at them, and we really don’t want to do that."
In her autobiographical film, Regina Pessoa expands her repertoire, introducing object animation and wall drawings alongside hand-drawn animation.