Review: In DP 01 : 2014 game developer Naughty Dog threw its heroes into a post-pandemic scenario with The Last of Us - but how were the lighting, texturing and motion capturing created?
Review: DP 03 : 2013 took a closer look at the film adaptation of the young adult novel Ruby Red. We spoke to Professor Jürgen Schopper, Supervisor Mortimer Warlimont and VFX Producer Katja Müller about particle effects, the filmability of Spiegel bestsellers and the magic of VFX shots.
Review: In DP 03 : 2013, we asked Design Director and User Experience Specialist Billd Gardner why Bioshock Infinite had to be delayed. What happened behind the company gates at Irrational Games?
Review: In DP 06 : 2013, the VFX cracker Pacific Rim grilled the cinema summer. Compositing artist Michael Ralla tells us how Industrial Light & Magic tamed the Kaiju giants.
Looking back: In DP 04 : 2013, we were thirsty for beer, because pilsner brand Warsteiner was celebrating its 260th birthday with an advertising campaign. The post-production studio nhb and the agency Kolle Rebbe created bottles in 3D for the Warsteiner brewery. Cheers!
Review: In DP 05 : 2013, Walt Disney and Pixar Animation Studios brought the prequel "Monsters University" to cinemas. Could the hair and cloth simulation keep up with its predecessor film "Monsters Inc."? Animation is a hairy business!
Review: In DP 06 : 2012, Luis Alonso, Senior Technical Artist at BioWare, spoke at FMX (Film & Media Exchange) about the video game Mass Effect 3. DP grabbed Alonso to ask him a few questions.
Review: In DP 05 : 2019, we realised that elaborately produced cutscenes in video games are no longer a rarity. In Remedy Entertainment's Alan Wake, MoCap specialist metricminds took care of the characters' facial expressions.