 |
 |
| 08|16|2007 |
Matt ArmstrongThe new :60 spot for MillerLite “Break from the Crowd” required meticulous pre-production planning, extensive pre-visualization, motion capture, a script that allowed Maya nCloth to drive and control agents created in Massive Software, complex CG and compositing work... »
|
|
|
| 08|16|2007 |
Mike GrotticelliFor Transcendent Man, Therapy Studios managed hundreds of hours of tapeless P2 footage, archiving it to DLT tape, and edited and finished the film with aan Avid Media Composer and Quantel iQ. ... »
|
|
|
| 08|03|2007 |
By Bryant FrazerIt’s one thing to do groundbreaking VFX work on a show like Battlestar Galactica, which dramatically reinvented the look of the original 1970s TV series for a contemporary audience. But it’s quite another to start working on an upgrade of a not-so-long-in-the-tooth program like Babylon 5.... »
|
|
|
| 08|01|2007 |
Thomas StrodelThe newly re-opened Hall of Human Origins at the American Museum of Natural History in New York City tells the story of human evolution from our earliest ancestors through the development of modern language... »
|
|
|
| 07|30|2007 |
Matt ArmstrongPierre Michel was offered what most artists dream of from a client: carte blanche to create whatever he envisioned. The project was to create the opening for the French film festival "Polar dans la ville" ("Polar in the town"), which would be printed to 35mm film and projected at about 40 cinemas around Paris as well as on television. ... »
|
|
|
| 07|30|2007 |
Scott SimmonsWe don’t often hear about are the stories of everyday Iraqis who must attempt to live normal lives in and around the fighting. Hometown Baghdad was brought to the Internet to change that.... »
|
|
|
| 07|26|2007 |
By Debra KaufmanFilm & Video has compiled some of the top short projects to come out of French animation school Supinfocom Valenciennes recently.... »
|
|
|
| 07|26|2007 |
By Barbara RobertsonVeteran VFX Supervisor Scott Farrar of ILM (center) with ILM's Russell Early (left) and Transformers D.P. Mitch Amundsen on set in Detroit. Farrar says Transformers is the film where CG robots became more "real" than anything that could be physically built.... »
|
|
|
| 07|19|2007 |
Matt ArmstrongIn March, Adobe made the biggest release in the company’s history. Last week it made a splash in Manhattan as it unveiled an interactive installation meant to illustrate the power and diversity of each of its many design tools ... »
|
|
|
| 07|19|2007 |
Matt ArmstrongAbout six years ago Grzegorz Jonkajtys came up with the concept of a CG-animated short film. In March he completed the film, The Ark, employing motion control for many of the background environments and managing to create and render virtually the entire 1920x1080 short on just his laptop.... »
|
|
|
| 07|12|2007 |
By Bryant FrazerIf you’ve seen Live Free or Die Hard — or even if you’ve just seen the trailers, which emphasize the film’s trademark outlandish action sequences — you may think of the various stunts, including the “money shot” involving a car tumbling through the air and smashing into the hoods of two more cars traveling on the ground, as a veritable CG-fest. But you’d be wrong.... »
|
|
|
| 06|28|2007 |
By Bryant FrazerDirector Brandon Dickerson just finished a Switchfoot music video that featured painstakingly realized "photomation" scenes — created by inkjet-printing 1224 separate frames of HVX200-captured performance footage, hand-tearing the band members out of each frame, and then re-photographing the performance, frame by frame, on a cardboard-box stage. ... »
|
|
|
| 06|26|2007 |
Matt ArmstrongWith footage shot on location, and stock footage, used essentially just for background plates, it was up to Asylum to show the evolution of the earth in CG. ... »
|
|
|
| 06|21|2007 |
By Barbara RobertsonMid-way through the animated mockumentary Surf’s Up, one of the penguins faces the camera and asks an invisible camera crew if they’re hungry. We hear a voice answer, “Uh, yeah.” ... »
|
|
|
| 06|21|2007 |
By Bryant FrazerWhen the potential for inclement weather pushed production for this idyllic location spot touting U.K. chain Tesco’s farm-fresh milk up by a day, editor Steve Gandolfi found himself working without the usual video playback system. In a pinch, they worked up a system: 35mm footage was loaded into the Avid via MiniDV, and extensive handwritten notes were made to keep track of timecode. The shoot wrapped late Sunday and aired the following Saturday. We asked Gandolfi via email for details on the seat-of-your-pants shoot.... »
|
|
|
|
|
 |
