 |
 |
| 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. ... »
|
|
|
| 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. ... »
|
|
|
| 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.
... »
|
|
|
| 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.... »
|
|
|
| 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. ... »
|
|
|
| 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.... »
|
|
|
| 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. ... »
|
|
|
| 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. ... »
|
|
|
| 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.... »
|
|
|
| 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.... »
|
|
|
| 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. ... »
|
|
|
| 12|20|2006 |
Matt ArmstrongTo show how Tiger Woods generates power in his drives from his feet, or rather Nike shoes, up, Nike Golf tapped Imaginary Forces to create a short film for its Power Platform technology in a new line of golf shoes. ... »
|
|
|
| 12|01|2006 |
By Debra KaufmanMy Name is Earl added another feature this season with an episode, airing November 16, involving a few minutes of stop-motion animation, the brainchild of Earl creator/executive producer Greg Garcia... »
|
|
|
| 11|15|2006 |
By Bryant FrazerSwitch VFX's work on Saw III runs the gamut from putting a simple chill in the air to making splatter even splattery-er.... »
|
|
|
| 11|07|2006 |
Matt ArmstrongDirector Dael Oates of Animal Logic explains the process of creating the animated music video for Under the Cherry Tree by Australian band Telemetry Orchestra. ... »
|
|
|
|
|
 |
