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| 01|31|2008 |
By Bryant FrazerWhen it comes to monster movies, it's generally the monsters that get all the attention. But in the case of Cloverfield, the creature team at Tippett Studio got a big assist from the crew at Double Negative, which handled more or less every VFX shot in the film that didn't involve the monster itself.... »
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| 01|23|2008 |
Kai PedersenThis tutorial details how to use the xRef file referencing tool in Maxon Cinema 4D to manage projects so that many different animators can be working on the same project. ... »
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| 01|23|2008 |
Matt ArmstrongFor the horror/thriller One Missed Call Zoic Studios in Vancouver was charged with creating the visual effects. And then once the initial effects were down the production decided it had to go back to the drawing board to ramp up the impact of the film, leaving much of this in the hands of Zoic.... »
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| 01|17|2008 |
By Debra KaufmanThe massive number of tapes resulting from multiple 18-camera shoots of U2’s 3-hour "Vertigo" concert tour was just the beginning. The production attempted to clone the original tapes as quickly as possible. Then the edit began. And 3ality Digital Systems got into gear to solve some of stereo filmmaking's most persistent problems.... »
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| 01|17|2008 |
By Debra KaufmanRock groups don't get any bigger than U2, which brings along a thunderously entertaining stage show wherever it goes. Stereoscopic 3D production company 3ality traveled with the Dublin lads to several concert dates in Mexico and South America. What was the big idea? To make a 3D concert movie as intense and explosive as the band's performance.... »
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| 01|10|2008 |
Matt ArmstrongCreating the visual effects for the feature film Tales of the Riverbank, based off the popular 1960s British television series, required complex compositing of furry puppets shot on bluescreen, some CG set extension and characters and an intensive DI, all coordinated by Prime Focus London and its Indian sister companies in Mumbai, Chennai, Hyderabad and Parel.... »
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| 01|01|2008 |
Bryant FrazerWith one film headed to Sundance and the other in wide release this month, filmmaker Alex Gibney considers the price of objectivity, the burden of technology and the demand for documentaries in such politically charged times.... »
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| 12|28|2007 |
Matt ArmstrongFor the launch of Honda’s Aquatrax F-15X, Robb Hart and Martin Brinkerhoff were charged with conceiving and co-directing a two-minute piece that would be projected on multiple large screens to show off the thrill and excitement of the craft. What they came up with was shooting super-slow motion with camera movement. ... »
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| 12|20|2007 |
By Dan DaleyJerry Bruckheimer likes ‘em big and loud. Movies, that is, and National Treasure: Book of Secrets is expected to meet expectations in terms of dB and SPL. But within that cacophonous jungle of sound is plenty of room for nuance, says George Watters II, supervising sound editor at Buena Vista Studios, where the film was edited.
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| 12|20|2007 |
By Bryant FrazerThe setting of the $250 million The Golden Compass, based on a novel by Philip Pullman, is an alternate world where humans’ spirits are embodied in animals — talking “daemons” that follow them everywhere — and polar bears are ferocious armored creatures with a kingdom of their own in the arctic north.
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| 12|17|2007 |
Peter PlantecWith the need to expand their capacity and keep costs down, Rhythm & Hues looked to India. At first I figured they were merely outsourcing work to existing Indian VFX houses and calling it R&H India. What I discovered was much different.... »
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| 12|13|2007 |
By Barbara RobertsonThe word on the street is: see Beowulf in 3D. So F&V talked with two of the people responsible: Sony Pictures Imageworks’ 3D mavens, Buzz Hayes, senior visual effects producer, and Rob Engle, stereographer and digital fx supervisor.... »
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| 12|13|2007 |
By Bryant FrazerAs cable channels get more adventurous with original programming, the scope of VFX jobs for TV is expanding dramatically. For the recent six-hour Sci-Fi Channel miniseries Tin Man — a loose contemporary adaptation of L. Frank Baum’s The Wonderful Wizard of Oz — Vancouver VFX shop Anthem FX ramped up production to crank out no fewer than 1500 FX shots for delivery in the HDCAM SR 4:4:4 format.... »
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| 11|21|2007 |
By Steve EricksonTodd Haynes' I'm Not There is no ordinary biopic. Inspired by the life and music of Bob Dylan, it uses six different actors, including Cate Blanchett and an 11-year-old African-American boy, to portray him at various stages of his life. Brilliantly edited, I'm Not There adds up to more than the sum of its parts — it honors Dylan's legacy while suggesting the flaws of rock music's myths of sincerity and authenticity.... »
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| 11|15|2007 |
By Barbara RobertsonIt’s easy to believe that toys in a toy store might come alive, but the store itself? That was the challenge for the visual effects crews who put the magic into writer/director Zach Helm’s fantasy comedy Mr. Magorium’s Wonder Emporium.... »
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