06 November 2026 - The filmmakers behind Warner Bros. Pictures Animation's new adaptation explain how Maya handled the movie's multiple visual styles.

05 November 2026 - While League of Legends fans are enjoying K/DA's new FIRESTARTER music video, we asked Fortiche's director Marietta Ren and animation supervisor Rémy Terreaux about the work on the animation, VFX, and camera, found out what 3D software the studio uses, and learned what technique the team implemented for the first time.

30 October 2026 - Eric Liu showed his process of creating a semi-realistic version of DC's antihero Lobo, from sculpting in ZBrush to texturing in Substance 3D Painter and lighting in Marmoset Toolbag.

28 October 2026 - Rebecca Ma discusses how she sculpted the intricate patterns on dragon statues with ZBrush's Make 3D tool, explains how procedural texturing in Maya and V-Ray helped her save time, and talks about how she created a water simulation and an atmospheric fog in Houdini.

27 October 2026 - Arjun Perayil explains why blockout is the most important part of production, shows how he created a complex master shader for the cabin in Unreal Engine 5, and talks about the process of hand-sculpting stylized vegetation.

23 October 2026 - Gameloft Brisbane explains how Bluey’s Happy Snaps uses SDF textures, 2D planes, custom shaders, and Unreal Engine Control Rig to recreate the show’s hand-drawn style.

23 October 2026 - Shirzad Bahrami invites artists to join the test before the official release.

23 October 2026 - Daniele Ellimah breaks down water-bending VFX inspired by Avatar: The Last Airbender, discussing layering shades of blue, adding foam and dark patches, and creating a smooth dissolve effect.

22 October 2026 - Barış Kılıç explains how he blended Mediterranean architecture with The Last of Us aesthetic in his Mediterranean Echoes scene, shares his trick for distributing polygons wisely, and reflects on the challenge of making a set of custom materials in Substance 3D Designer.

20 October 2026 - Shubham Vijay talks about the meticulous process of recreating an intricate pattern on a woven basket in 3D, breaks down the process of texturing several different surfaces, like rope and seashells, and explains how he integrated 3D scans of real-life objects into the project.