The Wacom experience just became more affordable.
New York studio Thinko believes that its Mr. Puppet Animation System could change animation production.
For naturalistic animation, we can thank Max Fleischer, his Rotoscope machine, and his brother dancing on a roof in a clown costume.
The organizers define virtual beings as “a character that you know isn’t real but with whom you can build a two-way emotional relationship.”
“Klaus” brings hand-drawn animation back — but it also pushes it forward. The film’s artists tell Cartoon Brew how they created the film’s unique look.
Nexus demonstrated its new augmented-reality platform at a recent NFL game, where fans watched as animated holograms took over the stadium.
A new system is coming for artists who are tired of having their visual creations stolen without attribution.
The company offers a range of services, from vfx to virtual production tools, for broadcast content.
Marza Animation Planet converted Flash animation to Maya for organic water effects in their latest short film.
In our round-up of articles, the senior crew explain how they created — and, in some cases, fudged — the film’s photorealism.
The Virtual Production Field Guide provides an overview of “one of the biggest technology disruptors of the visual medium.”
Toon Boom is touting 40 new-and-improved features in the latest edition of its industry-standard animation software.
With its new short “Sherman,” Unity is showcasing what’s possible in real-time rendering of fur, hair, and feathers.
Showrunner Anton Vereschagin shares the pipeline and tech challenges that come with producing a high-quality cg series in Russia.
Forty minutes of quality keyframed animation every month? This Montreal studio is doing it.
Researchers at the University of Washington have developed a new technique for creating 3d cg character animation from a single still image.
The Grease Pencil provides 2d animation tools within Blender’s free and open-source full-3d pipeline.
The AI-generated synthetic anchor was created with the goal of replicating realistic movement, facial expressions, and voice.
Two of the hardest things to produce in visual effects animation are snow and fur – two of the main elements required for “Smallfoot.”
An oral history of PDI’s tech behind the making of “Antz,” which is celebrating its 20th anniversary.