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| 11|01|2006 |
By Bryant Frazer
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... »
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| 08|11|2006 |
By Bryant Frazer
When Mr. Wonderful's creative director, Beirne Lowry, sat down earlier this year to work on a promo for OLN's coverage of the Stanley Cup finals, he worked in Flame as much as possible, starting with previs, partly because it's a very fast way to visualize and figuring out lighting schemes.... »
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| 06|20|2006 |
By Barbara Robertson
On Cars, the team of between 12 and 15 layout artists, the editor, cinematographer Jeremy Lasky and director John Lasseter blocked out the action for the characters in each shot — where and how fast they would drive — and designed the camera moves.... »
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| 05|01|2006 |
By Debra Kaufman
Thanks to Moore’s Law, creating truly photoreal imagery isn’t as daunting a feat as it used to be, and Stargate’s virtual backlot is becoming a staple in Hollywood television shows. ... »
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| 02|01|2006 |
By Ann Cooper
It took three and a half months in post-production and more than 18 people from Framestore CFC to create Guinness’s “NoitulovE,” a spectacular 50-second special-effects epic featuring three men morphing through time from a present-day London drinking hole to a primeval mudhole.... »
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| 02|01|2006 |
By Sharon Kennedy
New York visual effects house Spontaneous motion-captured Bono's face so he could sing to an animated woman in a 3D environment.... »
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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 |
Interviewed by Bryant Frazer
Bobby Beck AnimationMentor.com Bobby Beck was an animator and character developer at Pixar until September 2004, when he left to launch an online animation school, AnimationMentor.com... »
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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 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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