Keyframe Digital Fills a VFX Warehouse for Syfy

Keyframe co-founders Clint Green and Darren Cranford lead the shop on a production task that can include upwards of 200 different effects per show.»

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Making Realistic Dinosaurs on a TV Timetable | Multiplying Soldiers in Final Cut and After Effects | Is Justified's New Workflow the Future of Cinematography?

Photoreal VFX for Let Me In

None of Dive's work for the film is especially flashy — unlike the teen-romance themed Twilight or the gleefully carnal True Blood, Let Me In could be described as a low-key horror drama with coming-of-age overtones, and it required unobtrusive VFX that were absolutely photoreal to match the story. »

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Editor Lisa Bromwell on Cutting The Surrogate | Director Frederick Wiseman on Burlesque Doc Crazy Horse | Director Lynne Ramsay on Photography, Filming Novels, and Europeans in the U.S.

World War Seven on Mini's 3D Monster-Truck Spot

If you want big branding, you want to see your spot on the big screen. And if you really want to make an impression, you want that spot to show in stereo 3D in front of 3D movies. The BMW-owned Mini brand employed that strategy for a large-scale cinema spot using ultra-high-speed footage to show a heavy monster truck gliding through the air above one each of the four different cars in Mini's product line. Mini says it took a crew of 120, including the stunt driver, to make the shoot happen. That figure includes stereo-3D experts Joshua Ferrazzano and David Shafei, whose World War Seven production company was brought in to figure out how to make stereo 3D happen on time and on budget. We talked to them about prepping for the day, shooting with Phantoms and Reds, and monitoring super-slow-motion footage in stereo. »

Radium/Reel FX Talks About Lighting Up Katy Perry's VMA-Winning "Firework"

As Perry sings, "Baby you're a firework/show them what you're worth," pyrotechnics emerge, on cue, from Perry's body and those of the video's main characters. That's where Radium/Reel FX came in. »