Oscar-winning re-recording mixer Michael Minkler, who worked on Chicago, Rent and A Chorus Line, says getting the music into the movie was a challenge this time.... »
F&V got Kevin Tod Haug to talk about doing VFX for Forster’s latest not-a-VFX-film, Stranger Than Fiction, finding good work in Russia, and the VFX industry’s “roving horde” of freelancers... »
The fact that Superman Returns was the first major film to be shot entirely with the Panavision Genesis camera made the news. But behind the scenes was another, equally significant first: the all-data post-production pipeline.... »
After more than three decades in the film sound business, many people would be looking at retirement homes, not major professional epiphanies. But multi-Oscar winning supervising sound editor and sound designer Lon Bender took a side road onto the Great White Way that changed the way Broadway looks at sound. ... »
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.... »
Superman Returns wasthe first major effects picture to be shot using the Genesis camera system from Panavision. Does that make a difference to a VFX studio? We decided to ask around.... »
For Superman Returns, 11 studios created digital supermen and environments, composited green-screen shots, and tidied up images in other ways. “Our heavy hitters were Sony Pictures Imageworks, Framestore CFC, which had the highest shot count, Rhythm & Hues, and Frantic Films,” says VFX supervisor Mark Stetson. ... »
