Artists’ collective Universal Everything have created an endless parade of code-generated characters. We’re entranced.
The co-founder of Baobab Studios tells us how the company’s vr titles, including “Baba Yaga,” wouldn’t exist without Unity.
We spoke to the artists and developers behind “Later Alligator,” “Knights and Bikes,” and “River City Girls” about their games’ stylized visuals.
Marza Animation Planet converted Flash animation to Maya for organic water effects in their latest short film.
The Virtual Production Field Guide provides an overview of “one of the biggest technology disruptors of the visual medium.”
The Danish school’s bachelor projects comprise half a dozen films and a video game. All but one is available to view online.
With its new short “Sherman,” Unity is showcasing what’s possible in real-time rendering of fur, hair, and feathers.
“From the start, I wanted to create a film that uses code,” says Frei, whose film will screen next week at Annecy.
With “Alita: Battle Angel” poised for release, we take a look at the state of play in photorealistic cg humans.
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.
When his relationship ends, Finn finds himself lost in a mysterious land, paralyzed by the fear of moving on.
We talk to Studio2 Animation Lab about translating their popular “Barkley and Friends” property into a children’s vr series.
Disney created a series of three animated shorts using real-time rendering technology.
A look at how e.d. films in Montreal has adopted the Unity game engine for animated filmmaking, and even developed its own real-time tools.