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| 06|19|2008 |
By Debra Kaufman
Kung Fu Panda has captured critics and audiences with its irreverent mix of kung fu and heart, a tale of a slacker panda who dreams of being a kung fu master. Design and branding studio Shine was tasked with creating a main title sequence that conveyed all this while serving as a bookend to the 2D dream sequence that opens the film, and crediting 900 people who worked on it. The result, which clocks in at nine minutes, is a mini-movie in its own right.... »
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| 05|29|2008 |
By Bryant Frazer
Gordon's version of the story, which stars Mena Suvari as the driver and Stephen Rea as her victim, is rewritten to give the poor guy a fighting chance. It's a violent B-movie that's as disturbing as it is funny, a black comedy that's genuinely interested in the psychology of a driver who could ignore the dying man stuck in her windshield.... »
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| 05|22|2008 |
By Bryant Frazer
Working from her New York apartment, Nina Paley expanded the scope of a series of shorts she had been working on (they set stories from an ancient Hindu epic, the Ramayana, to the tunes of early jazz singer Annette Hanshaw) to feature-film length. Talk about a personal film.... »
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| 05|08|2008 |
By Bryant Frazer
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.... »
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| 05|08|2008 |
By Barbara Robertson
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.”... »
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| 05|08|2008 |
By Bryant Frazer
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.... »
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| 04|24|2008 |
By David Heuring
Director Mike Figgis may be best known for the acclaimed hit Leaving Las Vegas, which ushered in a continuing renaissance in Super 16 film production that began in the mid-1990s. Figgis has earned a reputation since then as a technology-savvy artist and iconoclast, so maybe it's not surprising that, when Sony Pictures insisted that his latest TV project, Canterbury's Law, be shot in HD, Figgis defied the order.... »
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| 03|27|2008 |
By Bryant Frazer
Building out storage and rendering power for Hollywood projects at a new facility in Santa Monica, PostWorks executives think they see the future of the high-end television pipeline — and it looks a lot like a feature-film DI workflow. The proof of concept is its recent implementation of a datacentric, largely tapeless workflow for the five-nights-a-week HBO series, In Treatment.... »
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| 03|27|2008 |
By Debra Kaufman
“Our Final Cut workflow wasn’t just about saving money and being more efficient—which we were in a big way—but about how creative and humane a cutting room and post process can actually be in today’s environment.”... »
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| 03|13|2008 |
By Bryant Frazer
When the Kansas City Ad Club decided to change the name of its award show from the OMNI Awards to the ADDY Awards, it needed to find an easy way to make sure everyone in the local advertising community was aware of the brand switch. Kansas City ad agency Barkley turned to local post boutique Liquid 9 for a viral campaign of three animated Internet spots ... »
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