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| 03|14|2007 |
Linda RomanelloProduction studio Digital Domain recently put a twist on a familiar scenario in a TV spot produced for Pepsi-Cola’s new Amp energy drink. Crumbled pieces of paper mystically come to life and attack their creator.
Special Effects Supervisor Fred Raimondi used Lightwave, Flame and Maya on the project that blends CG with live action.... »
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| 03|14|2007 |
By Bryant FrazerWhen producer Jonathan Murray started looking to bring back MTV’s venerable reality series Road Rules, which went off the air several years ago, he knew the show would need a new hook.... »
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| 03|09|2007 |
Matt ArmstrongJeremy Hunt, owner/director of the boutique visual effects house Screaming Death Monkey had long known Chris Watts, the visual effects supervisor on 300. So when it came time to choose vendors to work on the film, a company as small as Screaming Death Monkey was granted the rare opportunity to work on a big budget film. Of course opportunity is what you do with it. ... »
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| 03|09|2007 |
By Matt ArmstrongFor visual effects design heavyweight Grant Freckelton, who served as visual effects designer on Harry Potter and the Goblet of Fire and as visual effects art director on The Matrix Reloaded, the chance to work on a test shoot led to his dream job as the VFX art director on 300, based on the Frank Miller graphic novel and directed by Zack Snyder. ... »
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| 03|06|2007 |
Matt ArmstrongIn the new spot for BMW, the directorial duo of Nick Thornton-Jones & Warren Du Preez from production company Wanted Films transformed their signature style of painting with light that has garnered them acclaim in the print world into the realm of motion pictures, a move that was fraught with creative and technical challenges. ... »
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| 02|12|2007 |
Matt ArmstrongEditor David Checel is a veteran in the music videos and commercials but is relatively new to cutting features. Before embarking on Stomp the Yard he had a few straight-to-video feature films under his belt and cut many of the dance/action scenes in Idlewild. But his experience in music videos, and, to a degree, commercials, proved invaluable when attempting to handle the enormous dance sequences on this feature film. ... »
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| 02|07|2007 |
By David Michael MaurerThe most cost effective workflow for our production
was to use two Avid Xpress Pro Systems in the field (an Apple G5
Desktop w/ Mojo and Laptop) and shoot at 23.98 fps on the Sony F900
Camera (we had two of those as well), finishing via Avid Symphony
Nitris.
... »
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| 02|01|2007 |
By Beth MarchantUnderdog, Disney’s live-action remake of the 1960s television cartoon of the same name, is still incognito. Though the Disney Channel has trotted out a few early promos on a very short leash, the CGI-laden film will be in post for another four months.... »
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| 02|01|2007 |
By Linda RomanelloThe new FX series Dirt, which focuses on the world of Hollywood celebrities and the tabloids rags that alternately honor and vilify them, features recurring scenes that every filmmaker loves to create: those depicting an altered mental state, in this case that of one of the main characters Don Kinney (played by Ian Hart) who is the tabloids' schizophrenic photographer. ... »
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| 01|25|2007 |
By Bryant FrazerDelhomme says he took pains to let London look like London, and not like some stylish cinematographer's idea of what a big city at night should be.... »
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| 01|18|2007 |
By Ed HeedeSundance is perhaps the most dynamic of independent film shows and certainly the biggest. From the start of the indie movement, what filmmakers have had in common at Sundance are projects long on passion and short on budget. Strapped resources have usually meant a lean palette of options for filmmakers where compromises occur from shooting to postproduction. ... »
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| 01|18|2007 |
Matt ArmstrongAnimator/vfx artist Darren Price of Nexus Productions talks about his first step into the realm of directing, as well as techniques used to get a cel-animation look from CG, with his short film Potapych: The Bear Who Loved Vodka and the animation workflow for the Motorola short in which a bunny travels through the history of cinema. ... »
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| 01|11|2007 |
By Bryant FrazerWhen the Pittsburgh Zoo wanted to promote a new polar-bear exhibit, it turned to local VFX studio Animal and director Michael Killen for a spot that used seamless VFX to plant a surprise in the Ohio River — a real polar bear that has local swimmers scrambling for the shore.... »
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| 12|20|2006 |
By Barbara RobertsonFilmmakers rarely rely on visual effects to tell humble stories, but the gentleness of the new film version of Charlotte’s Web depended largely on the artists who made the talking live-action and CG animals believable.... »
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| 12|20|2006 |
By Matt ArmstrongWhile today’s animation software allows the creation of these characters the task of making them move and react in a realistic manner is arduous to say the least. Pendulum Studios created their own solution for mo-cap data. ... »
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