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| 01|01|2006 |
By Sharon Kennedy
Directors Joseph Kahn (Torque) and Rob Cohen (The Fast and the Furious,
Stealth) teamed with VFX house Digital Domain
(Venice, CA) to deliver effects-heavy spots for Saab that capitalize on
the car-maker’s background in aviation engineering.... »
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| 01|01|2006 |
By Debra Kaufman
To launch the Scion xA hatchback, Attik director/co-founder Simon Needham was charged with creating a compelling spot aimed at young adults by emphasizing the car’s look and luxury options, from hubcaps to... »
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| 01|01|2006 |
By Iain Blair
Lending a feature-film look to the new ABC hit political drama Commander In Chief , which stars Geena Davis as the country’s first female president, has been "a key ingredient to our approach,"... »
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| 01|01|2006 |
By David Heuring
Cheating Death: Final Destination 3 marks the fourth collaboration between Rob McLachlan, ASC, CSC, and director James Wong. The two previously merged their talent on Final Destination , The One and Willard... »
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| 12|01|2005 |
By Barbara Robertson
When principal photography began on the film Jarhead , the visual effects crew at Industrial Light & Magic expected they would create 89 shots during a scheduled 10 weeks of post-production. ... »
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| 12|01|2005 |
By Larry Getlen
When you’re trying to capture the feel of a specific place on film, it makes sense to go on location and soak up the atmosphere. But when Memoirs of a Geisha director Rob Marshall headed to Japan in search of some early 20th Century flavor, he found the region just felt too modern to work... »
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| 12|01|2005 |
By Bryant Frazer
Cinergy Creative’s Leslie Allen has learned how to squeeze value out of a project from both sides of the camera. This year, leveraging a background in commercials and VFX he tackled his first feature-film project... »
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| 12|01|2005 |
By Bryant Frazer
For Stefan Sonnenfeld, the image impresario at the helm of Company 3, working in high-resolution became the rule, rather than the exception, this year. ... »
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| 12|01|2005 |
By Bryant Frazer
Working in TV means looking at all the angles to simplify a hectic workflow. When your parent company mandates that all your programming be archived to film, your SD deliverables become HD and the angles multiply.... »
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| 12|01|2005 |
By Barbara Robertson
Industrial Light & Magic’s move to a new, four-building complex on 23 acres of parkland near the Golden Gate Bridge gives it more than a nice view. ... »
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