The Nick Jr. series is a striking hybrid of live action and animation. Its creators break the production process down for Cartoon Brew.
This quirky Oscar-shortlisted student film from France is a fine example of how photoreal CG can be an effective storytelling choice.
Practical effects, digital make-up, and dry-for-wet filming helped make Guillermo del Toro’s ‘The Shape of Water’ possible.
Oats Studios isn’t just creating fresh new content, they’re creating a fresh and new approach to the process of making vfx-driven films.
Director Patty Jenkins “always couched the visual effects in emotions,” the film’s vfx supervisor Bill Westenhofer tells Cartoon Brew.
The adaptation of the Neil Gaiman novel had some out-there god imagery that was so crazy it needed a custom-made camera rig to make it possible.
Digital actors are again in the spotlight, with a cg Hugh Jackman and another character made for key scenes in ‘Logan.’
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.”
Computer animation is known for its precision, but as Michael Fragstein shows, adding imperfections and abstraction into CG can be just as beautiful.
Phil Tippett is using augmented reality to bring his classic creatures to life in the new game Hologrid: Monster Battle.
Cartoon Brew delves into the animation challenges of Disney’s latest blockbuster.
Paris might just be one of the most photographed and filmed cities in the world. But you’ve never seen it like this.