Action auds adore him. Fussy cineastes revile him. Hardly anyone in either camp puts much thought into assessing his work.
David S. Cohen
The "Mad Men" season five contract flap somehow put me in mind of the original "Star Trek," and how, after surviving one cancellation, it wheezed to its swan song after three seasons.
Ironically, the year the Academy opened up its visual effects race to five nominees has been a light one for top-notch visual effects.
Not long ago I got a call from a Time magazine reporter working on a story on the visual effects business. As we discussed the dire financial straits of many vfx companies despite their growing…
Two projects from the development slate of visual-effects studio Rhythm & Hues are moving toward production as the company moves away from being strictly a vendor and looks to become a producer.
The visual effects industry's ability to handle huge changes at the last minute has cultivated some dubious habits at the studios.
Performance-capture acting, and the thesps who've tried it, are earning more respect these days.
In a sign that digital production is maturing as an industry, today marks the birth announcement for a new professional org: the Previsualization Society.
The $59.3 million bow of DreamWorks Animation/Paramount's "Monsters vs. Aliens" was hailed by exhibitors and distributors alike as a breakthrough in the burgeoning 3-D biz.
As impressive as "Iron Man's" visual effects are, it was clear even in early production that Robert Downey Jr.'s performance would set the picture apart from most superhero films.
Over a career now spanning almost 30 years and comprising some of the most successful action movies ever made, Gale Anne Hurd has acquired a reputation as one of the last real producers, someone who…