The move to 48 frames per sec
RED Digital Cinema company has been very active in pushing a cinema quality experience. We speak to RED founder Jim Jannard about what drives him and we share a video piece we produced interviewing Ted Schilowitz discussing the move to Stereo 48 fps filmmaking, which we made for our partners at The Daily (News Corp).
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Red EPIC Canon mount test drive review
We road test the new Canon mount for the Epic Camera with 120 fps 5K wild animals – and HDR fisheyes – all in a wild day of swinging and eating out, with monkeys, gorillas, lions and tigers.
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Fright Night – Q&A with VFX supe Joe Bauer
Fright Night VFX supe Joe Bauer gives us the details on this stereo feature, from the opening shot through to the dramatic vampire transformations.
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The Storm is over – Foundry kill product
BREAKING NEWS: In light of the advances that RED has engineered with their free professional REDCINE-X PRO, The Foundry has decided to bow out and leave them to it. We can report that The Foundry has decided to discontinue development of their Storm product with STORM 1.0v4 (the current release – being the last version). […]
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It’s Raining Marquise Technologies
In the lead up to IBC this weekend, Marquise Technologies have been making a splash with their RAIN, OCEAN and MIST products.
RAIN is a workflow and grading station, with the smaller MIST being an on set version and the bigger OCEAN being a full telecine controller (essentially sold through Cintel, DFT, etc). There is also a software only version, SoftRAIN.
Iloura vfx isn’t Afraid of the Dark
Iloura delves into its creature work for the Guillermo del Toro film, Don’t Be Afraid of the Dark. Includes two vfx breakdowns.
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Kerner Optical closing its doors
Cinefex is reporting that Kerner Optical is closing its doors. In recent years the studio had been moving into 3D stereo and other areas, but it would appear this icon of quality visual and special effects is shutting up ‘the shop’. Kerner is a company that stood for quality and an innovative love of filmmaking. […]
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Pan Am: retro green screen world
Go behind the scenes of Stargate Studios’ vfx for the ‘Pan Am’ pilot, with a gallery of before and after pics of their virtual set work.
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How The Mill gave Audi its oomph
The Mill’s head of 3D Tom Bussell walks us through his work on ‘Oomph’, a fast-paced monochrome spot for the Audi A1.
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Get the Smurf out of here!
Sony Pictures Imageworks and Tippett Studio discuss their work on the surprisingly successful new release: The Smurfs.
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Apple post-Steve
Steve Jobs leaves Apple, and thus ends an era. Apple, and therefore Steve Jobs, have had a huge influence on the film and television industry, especially in the area of post-production.
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The art of digital color
As part of our ‘Art of’ series we present our latest article. Color management and color workflows have evolved over many years. In this article we will trace from Cineon to the scene referred linear OpenEXR format.
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Behind the scenes with the Siggraph CAF winners
We take a look at two of the winners from this year’s SIGGRAPH Computer Animation Festival – Moonbot Studio’s ‘The Fantastic Flying Books of Mr. Morris Lessmore’ and ‘Paths of Hate’.
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Nine selected for Sci-Tech Oscar Consideration
The Scientific and Technical Awards Committee of the Academy of Motion Picture Arts and Sciences announced today that nine scientific and technical achievements have been selected for further awards consideration.
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ILM adds texture to Cowboys & Aliens
We talk to ILM vfx supe Roger Guyett and texture supervisor Martin Murphy about taming the alien wild west in the summer blockbuster Cowboys & Aliens.
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Day 4: Siggraph and Out
Our SIGGRAPH 2011 coverage continues with a look at day four of the conference.
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NVIDIA GPU Panel Bonus Audio Recording Available
On Monday at SIGGRAPH, Mike Seymour moderated a panel hosted by NVIDIA with leading CTOs and R&D experts. We’re happy to be able to provide an audio recording of that session for those who couldn’t make it to Vancouver.
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Day 3 Siggraph 2011
Day 3 of the Siggraph Show in Vancouver and the trade show opened, joining the papers, tech talks, presentations and general geeking out that is Siggraph 2011. Today included detailed talks from Pixar, news on Alembic, OpenColorIO and much more.
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Captain America: super soldier effects
We take a look at several studios’ visual effects work on Captain America: The First Avenger.
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Day 2 Siggraph 2011
Here’s our wrap-up of Day Two at Siggraph 2011 in Vancouver.
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Framestore’s heavens and horcruxes
Part 3 of our Potter Week Series: Framestore artists discuss their water sims and heavenly VFX for Harry Potter and the Deathly Hallows: Part 2. Includes a great behind the scenes clip.
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Tippett’s treasure trove of effects
POTTER WEEK: Tippett Studio visual effects supervisor Matt Jacobs takes us through his studio’s work on the treasure vault sequence in Harry Potter and the Deathly Hallows: Part 2.
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MAXON announces C4D R13
Maxon has announced CINEMA 4D Release 13, the next version of the 3D motion graphics, visual effects, painting, and rendering software application. Scheduled to ship in September, the release includes all new character tools, stereographic capabilities, streamlined multi-artist collaboration and physical rendering. More from SIGGRAPH next week, but click through for new feature highlights.
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Rango’s ‘Holodeck’ – a look at ILM’s virtual set
Gore Verbinski’s Rango was recently released on Blu-ray and DVD, so Mike Seymour talked to the guys at ILM to see the virtual set work on the film first-hand.
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DNeg’s Gringott’s Dragon and Digi Hogwarts
As part of Potter week at fxguide we speak to Double Negative VFX supe David Vickery and executive producer Dominic Sidoli to discuss their great work for Harry Potter and the Deathly Hallows: Part 2.
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Technicolor buys LaserPacific; sells NY assets
More changes in the film post-production world, with Technicolor announcing it is purchasing LA-based LaserPacific, but also selling its New York post assets.
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Rising Sun’s Green Lantern hi-jinks
We talk to VFX supe Dennis Jones about Rising Sun Pictures’ work on the dogfight sequence in Green Lantern.
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Dark of the Moon: ILM’s magic, in 3D
Industrial Light & Magic visual effects supervisor Scott Farrar and digital production supervisor Nigel Sumner discuss key scenes from Transformers: Dark of the Moon, including Bumblebee catching Sam and the Chicago battle, and working in stereo.
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Case study: how to make a Captain America wimp
Director Joe Johnston rejected notions of having a separate actor play the wimpy Steve Rogers in Captain America, as we discovered when we spoke to Edson Williams, visual effects supervisor for Lola VFX.
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