As usual, animation and vfx played a big role in the making of “Ant-Man and The Wasp.”
#Industrial Light & Magic
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.”
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.
Five vfx supes from the five vfx Oscar-nominated films share tips for collaborating with film directors.
A look at how ILM and Andy Serkis’ Snoke continued to evolve during production on the latest “Star Wars” film.
There are hundreds of visual effects shots in “Downsizing, but the film is certainly not a visual effects movie.
Who’s going to be nominated for a vfx Oscar? And who might slip in through the back door? We do a comprehensive breakdown of the category.
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.
The Italian digital arts conference this month features several leading women in the cg, vfx, and animation industries.
You’ve heard of previs, but what about ‘video-vis’? This technique could save you time and money when making a film with complex vfx sequences.
How the “Transformers: The Last Knight” vfx crew crafted a new kind of transformation for the franchise’s fifth outing.
Experts in vr animation weigh in on what they’ve learned from working in the medium so far.
Kong and his Skull Island friends and foes receive their own special brand of animation in the new Jordan Vogt-Roberts film.
Five-time-Academy Award winner Ken Ralston offers his thoughts on past projects and the future of vfx.
Just how do you give a Star Wars droid a personality?
The creature effects supervisor wants to collaborate even more with his digital counterparts.
A deep dive with researcher Paul Debevec, who has been pivotal in some of the biggest innovations in vfx, including photoreal digital characters.
ILM explains how they created the vfx for the New York Mirror Dimension sequence in “Doctor Strange.”
New videos from ILM break down its character, crowd, and hair vfx for “Warcraft.”
The first teaser trailer for Luc Besson’s ‘Valerian’ is out—and it’s packed with vfx and animation.
Mark Dippé and Steve ‘Spaz’ Williams, who created groundbreaking vfx work on “Jurassic Park,” “T2,” and “The Abyss,” talk about what’s different about the vfx industry today.
Carton Brew speaks to ILM vfx supe Pablo Helman about the variety of vfx techniques needed to create the scene-stealing performances of Bebop and Rocksteady.
“Dragonheart,” released twenty years ago this week, was a live-action film that had one of the first digital characters you could believe in. We talk to the ILM artists who created it.
Visual effects veteran Greg Jonkajtys is giving a high-tech upgrade to a classic Polish children’s property.
The new Turtles trailer contains plenty of cartoon fun, thanks to ILM.
Film producer Sam Mercer has been hired to run ILM’s four studios in San Francisco, Vancouver, London, and Singapore.
George Lucas’s groundbreaking visual effects company is celebrated in a new one-hour special on the Science Channel
Cut through the clutter with our handy guide to the must-see animation events happening in San Diego this year.
The 20th anniversary edition of the conference will present some major industry players.
The full trailer for Disney and Brad Bird’s ‘Tomorrowland’ has arrived.
There are bad trailers, and then there’s this incomprehensible thing promoting “Strange Magic,” an animated feature that feels like Blue Sky’s “Epic” produced by the people who made “Delgo.”
Disney-owned Lucasfilm dropped a bombshell on the film world this morning: “Strange Magic,” a new previously-unannounced animated feature based on a story by George Lucas, will be released into theaters by Disney’s Touchstone Pictures label on January 23, 2015.
Veteran visual effects supervisor John Knoll has been promoted to the position of chief creative officer at Disney-owned Industrial Light …