Around Hollywood, the prevailing wisdom is that to ensure a contemporary perspective and, hence, appeal to a new generation of filmgoers, successful film franchises need a fresh start every few years.
For diehard Men in Black fans, it's been a long, hard decade of cold turkey—no Agents J (Will Smith) and K (Tommy Lee Jones) in their trademark sharp suits and shades, no nifty neuralyzers, no wry banter as they battled illegal aliens and casually s...
With an eye on consumer dollars, a growing number of movie studios are looking through their film vaults and reissuing landmark productions in stereoscopic 3D.
2011 and 2012 give every appearance of being watershed years for 3D production.
A few years ago, I attended a 3D conference where DreamWorks Animation CEO Jeffrey Katzenberg delivered a keynote speech in which he declared the latest incarnation of digital 3D to be as revolutionary to motion pictures as the advent of sound and...
As stereoscopic 3-D films grow in popularity, visual-effects supervisors and digital artists face the challenges of creating digital imagery in three dimensions.
We all saw it. Lurking under glass in a darkened corner of Panasonic’s NAB 2009 booth was a bug-eyed prototype of what would soon evolve into the first professional one-piece 3D digital production camera.
Ghosts of the Abyss. Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour.
