http://www.studiodaily.com/main/ StudioDaily.com en-us 2008 Thu, 15 May 2008 18:10:01 EDT Whatever you think of Speed Racer, the new alternate-reality VFX fest from the Wachowski Brothers directorial team, you'll have to admit that it doesn't look like anything you've seen before.... http://www.studiodaily.com/main/technique/casestudies/9472.html Thu, 8 May 2008 0:00:00 EDT A major tenet of the production was keeping things real—from the suit to the cameras. By the end of post-production, however, animators at ILM were helping to design shots, including tweaking the camera. “Production drove the bus,” says Academy Award-winning VFX supervisor John Nelson, “but everybody was involved. Jon [Favreau] and I both believe the best idea is going to win, wherever it comes from.”... http://www.studiodaily.com/main/technique/casestudies/9462.html Thu, 8 May 2008 0:00:00 EDT It's been known for a while now (at least since the 2005 release of Chicken Little) that animated films do especially well in 3D versions. But the success of recent 3D projects like U23D, and especially Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour — which opened to a stunning $31 million weekend on a relative handful of digital 3D screens in the U.S. — has many in Hollywood taking another look at the feasibility of 3D for live action, especially on a tight budget.... http://www.studiodaily.com/main/technique/casestudies/9461.html Thu, 8 May 2008 0:00:00 EDT For the Discovery series Human Body: Pushing the Limits, which examines the intricate processes of the human body under a variety of ordinary and extreme conditions, Rushes in London created all the CG and VFX to allow the project to transition seamlessly between live action actors and realistic versions of the actors’ bodies, sans skin, as well as pushing into the muscle, veins and cells of the body.... http://www.studiodaily.com/main/technique/casestudies/9421.html Wed, 30 Apr 2008 0:00:00 EDT French filmmaker Pierre Michel has been able to achieve a rare thing in the commercial arena: the ability to create whatever he wants without the client even seeing it until it is finished. He did it on the opening for a French film festival last year and he’s been able to do it again on the sensuous commercial for the world-renowned jewelry store Loris Paris. Seeing his striking visuals and enigmatic style it is easy to see why clients are willing to give him carte blanche.... http://www.studiodaily.com/main/technique/casestudies/9417.html Mon, 28 Apr 2008 0:00:00 EDT