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| 05|08|2008 |
By Bryant FrazerWhatever you think of Speed Racer, the new alternate-reality VFX fest from the Wachowski Brothers directorial team, you'll have to admit that it doesn't look like anything you've seen before.... »
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| 05|08|2008 |
By Barbara RobertsonA major tenet of the production was keeping things real—from the suit to the cameras. By the end of post-production, however, animators at ILM were helping to design shots, including tweaking the camera. “Production drove the bus,” says Academy Award-winning VFX supervisor John Nelson, “but everybody was involved. Jon [Favreau] and I both believe the best idea is going to win, wherever it comes from.”... »
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| 05|08|2008 |
By Bryant FrazerIt's been known for a while now (at least since the 2005 release of Chicken Little) that animated films do especially well in 3D versions. But the success of recent 3D projects like U23D, and especially Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour — which opened to a stunning $31 million weekend on a relative handful of digital 3D screens in the U.S. — has many in Hollywood taking another look at the feasibility of 3D for live action, especially on a tight budget.... »
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| 04|30|2008 |
Matt ArmstrongFor the Discovery series Human Body: Pushing the Limits, which examines the intricate processes of the human body under a variety of ordinary and extreme conditions, Rushes in London created all the CG and VFX to allow the project to transition seamlessly between live action actors and realistic versions of the actors’ bodies, sans skin, as well as pushing into the muscle, veins and cells of the body. ... »
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| 04|28|2008 |
Matt ArmstrongFrench filmmaker Pierre Michel has been able to achieve a rare thing in the commercial arena: the ability to create whatever he wants without the client even seeing it until it is finished. He did it on the opening for a French film festival last year and he’s been able to do it again on the sensuous commercial for the world-renowned jewelry store Loris Paris. Seeing his striking visuals and enigmatic style it is easy to see why clients are willing to give him carte blanche.... »
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| 04|24|2008 |
By David HeuringDirector Mike Figgis may be best known for the acclaimed hit Leaving Las Vegas, which ushered in a continuing renaissance in Super 16 film production that began in the mid-1990s. Figgis has earned a reputation since then as a technology-savvy artist and iconoclast, so maybe it's not surprising that, when Sony Pictures insisted that his latest TV project, Canterbury's Law, be shot in HD, Figgis defied the order.... »
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| 04|24|2008 |
By Steve EricksonProbably bound to be Errol Morris' most controversial film, Standard Operating Procedure examines the cases of torture and murder at Iraq's now-infamous Abu Ghraib prison. Mixing 35mm and HD video, Morris uses re-enactments to depict torture and other images he wasn't able to film directly.... »
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| 04|08|2008 |
By Michael GrotticelliGordon is an HD specialist/editor with lots of experience in post-production technology, having worked on various linear and non-linear systems for both film and video projects.... »
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| 04|07|2008 |
By Barbara RobertsonVisual-effects artists at CIS Hollywood worked with Clooney and production designer Jim Bissell to turn a junior-high-school football field in Boiling Springs, SC, a middle-school football field in Travelers Rest, SC, and Memorial Stadium in Charlotte, NC into ever-larger stadiums that they filled with crowds of digital people. ... »
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| 04|07|2008 |
By Bryant FrazerJason Kohn says he didn't make Manda Bala in order to raise awareness of poverty, or to effect change in Brazil. He says he made it more to challenge what he saw as hopelessly mundane, limiting ideas about what documentary films could and should be.... »
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| 04|03|2008 |
By Bryant FrazerHe's not exactly a household name, but movie buffs know Wong Kar Wai as one of the most distinctive stylists working in film today. F&V asked him about his first time working in the U.S., why digital cinema is "too perfect," and the future of film-watching.... »
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| 03|27|2008 |
By Bryant FrazerBuilding out storage and rendering power for Hollywood projects at a new facility in Santa Monica, PostWorks executives think they see the future of the high-end television pipeline — and it looks a lot like a feature-film DI workflow. The proof of concept is its recent implementation of a datacentric, largely tapeless workflow for the five-nights-a-week HBO series, In Treatment.... »
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| 03|27|2008 |
By Debra Kaufman“Our Final Cut workflow wasn’t just about saving money and being more efficient—which we were in a big way—but about how creative and humane a cutting room and post process can actually be in today’s environment.”... »
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| 03|27|2008 |
By Debra KaufmanFight for Life focused on the body’s ability to fight life-threatening health issues from infancy through old age, and Jellyfish’s work enabled producers to go into the body to examine trauma, all the way to the microscopic level.... »
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| 03|13|2008 |
By Bryant FrazerWhen the Kansas City Ad Club decided to change the name of its award show from the OMNI Awards to the ADDY Awards, it needed to find an easy way to make sure everyone in the local advertising community was aware of the brand switch. Kansas City ad agency Barkley turned to local post boutique Liquid 9 for a viral campaign of three animated Internet spots ... »
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