How Luma Pictures used mo-cap, Light Stage and Arnold to bring the Underworld: Awakening Lycans to life.

Surface Mimic makes 3D scanned depth maps for digital sculpting, allowing artists to brush high-res details onto models with industry software such as ZBrush, Mudbox, Mari and 3D-Coat. We speak to founder Paul Callender.

We talk to DD VFX sup. Aladino Debert about the challenges of completing a Cisco spot in a tight four week schedule.

We explore the key visual effects shots from Framestore and MPC in Sherlock Holmes: A Game of Shadows.

Martin Scorsese’s Hugo received the lion’s share of Oscar nominations this year – we check out Pixomondo’s breakdowns of their VFX work.

Blur, Method and Digital Domain explain their titles and VFX work on David Fincher’s ‘The Girl with the Dragon Tattoo’.

Visual effects supervisor and director Phil Tippett, and his team, talk to fxguide about their short film ‘MutantLand’.

Whiskytree discuss how they use Vue in their pipeline for digital environments, as part of our ‘For Example’ series.

We talk to The Mill’s visual effects team about their VES-nominated Audi A6 Avant ‘Hummingbird’ spot.

Method Studios discuss their invisible virtual environment and crowd effects for Clint Eastwood’s biopic ‘J. Edgar’. Updated with before and after pics.

We go behind the scenes with Look Effects VFX supe. Max Ivins on The Muppets.

Effects supes from Method, Phosphene and Gravity discuss their visual effects work on ‘Tower Heist’.