Curtis Clark, ASC, recently signed on as a director/DP at bi-coastal (LA-NY) GO film. Clark intends to specialize in tabletop cinematography for commercials. ... »
Renaissance, which opens in U.S. theatres on September 22, integrates film noir and motion capture to create an unusual and dramatic look, one that garnered first-time feature director Christian Volckman “Best Picture” at Annecy International Film Festival. ... »
On a recent series of spots directed by Mark Romanek for the Acura RDX, cinematographer Jeff Cronenweth found himself shooting snippets of footage that would be intercut with computer animation showing the car in various imaginary environments.
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Vilmos Zsigmond has earned three Oscar nominations, taking top honors for Close Encounters of the Third Kind. The Black Dahlia was his 74th narrative film and his first experience with both Super 35 and a digital intermediate.... »
Working toward a 4:2:2 Avid DS Nitris conform that encouraged experimentation, editor Brian Berdan's witty vision of Crank's desperate adventure includes cutaways to Google maps, reverse-angle views of subtitles, and even an unprintable expletive briefly plastered across the protagonist's forehead.... »
One of the big surprises at the Siggraph Animation Show came not from heavyweights like Disney, Pixar or even the commercial house Charlex, which ended up winning the show’s award for best animated short with One Rat Short, but rather with a little known, but rising animation house Hatchling Studio tucked away in Portsmouth, New Hampshire, with its unique animated film The Toll.... »
In this video from SIGGRAPH, joint head of 3D at visual effects company The Mill, Jordi Bares, explains how they used Massive software to created billions of bodacious beauties for Lynx antiperspirant.
The :60, directed by Frederick Bond via MJZ, features hundreds of thousands of blondes, brunettes and Asian women flocking from all corners of the earth to capture the ultimate prize: a man scented with Lynx.
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When Mr. Wonderful's creative director, Beirne Lowry, sat down earlier this year to work on a promo for OLN's coverage of the Stanley Cup finals, he worked in Flame as much as possible, starting with previs, partly because it's a very fast way to visualize and figuring out lighting schemes.... »
A spin-off of reality show Laguna Beach, The Hills follows Lauren Conrad, a character from a past season, to Los Angeles. Cinematographer Hisham “Sham” Abed used the same camera and lenses as he did with Laguna Beach: the Panasonic 480-line resolution SDX-900 in 24p mode and native 16:9 aspect ratio and a range of Canon HD lenses.... »
What is assumed to be a simple function of a series of levers inside a vending machine opens up into fantastical journey of adventure and celebration in the new theatrical spot for Coca-Cola created by design/animation studio Psyop via Wieden + Kennedy Amsterdam.... »
We talked to VFX supervisor John Knoll about his work on the set of Dead Man’s Chest, and then we corralled director of photography Dariusz Wolski to ask how CG images affect his visual strategy — or if they do at all.... »
Dariusz Wolski, a director of photography whose resume includes such highly stylized projects as The Crow, Dark City and The Mexican, approached Pirates of the Caribbean: Dead Man’s Chest much as he would any other project. Owing to new technology from ILM, the motion-capture process was more advanced and less onerous than ever before, and the strategy during production was to get as much as possible in the camera, on real, remote locations, without resorting to soundstage work.... »
