Digital effects supervisor Ken Hahn tells how SPI’s digital teams sent Agents J and K back through time and to the top of the Apollo 11 lunar mission in ‘Men in Black 3’.
‘Titanic’, a four part TV series, was created to mark the 100th anniversary of the world’s most famous maritime disaster in April 1912. Spin VFX created the Titanic asset of over 1TB and 4,000 parts, delivering 55 shots.
'Journey 2' takes a trip through a hurricane to an island no one has ever seen but surely wants
to visit. Production VFX supervisor Boyd Shermis, the DFX supervisor at RSP and VFX supervisor
at Method Studios discuss the birds and the bees and the lost City of Atlantis.
With a shoot spanning three continents, ‘Killer Elite’ was an 18-month production and post-production project for Iloura's VFX team. VFX supervisor Julian Dimsey supervised on set at all locations.
VFX supervisor Matthew Gratzner at New Deal Studios in Los Angeles led his practical effects
crew in the construction and destruction of the magnificent Montparnasse Railway Station
in ‘Hugo’ – all at 1:4 scale.
Rising Sun Pictures took on major action sequences and environments in ‘The Hunger Games’, creating and animating elements from the all-digital Capitol City to the vicious Muttations.
The Super Bowl’s 2012 broadcast featured fantastic TVCs that competed with gridiron action for
attention. The Mill, ATTIK, Method Studios and MPC talk about their VFX and animation work on
spots surrounding the big game.
Visual effects supervisor Olivier Dumont coordinated the work of Method in London and LA on ‘Wrath of the Titans’. The two teams constructed the complex, cavernous environment and fiery volcanic effects of the underworld, Tartarus, and built and animated the huge god Kronos.
‘Chico & Rita’, 2012 Academy Award Best Animated Feature Nominee, was completed at seven
studios around the world using a customised workflow between a HoBSoft
automation system and Toon Boom Harmony.
To span the tremendous scope of work Cinesite were charged with on ‘John Carter of Mars’, Senior VFX Supervisor Sue Rowe led four teams of artists to design and build the environments, cities and aerial battles of Mars.
‘Underworld: Awakening’, the fourth film from the dark and dangerous realm of ‘Underworld’, finds
terrifying new creatures wreaking havoc on the human race, thanks to the work of Luma Pictures,
Spin VFX, Fido and Company 3.
Australian digital design and production specialists Digital Pulse in Sydney has produced
spectacular content to complement David Atkins Enterprises’ visual narrative for the opening
ceremony of the 12th Arab Games in Doha in December.
‘John Carter of Mars’ is the largest creature project Double Negative has ever undertaken, requiring two and a half years of work. Updating the facility’s pipeline to meet the demand resulted in an exciting new Creature FX division.
VFX supervisor Ben Morris leads the Framestore team to create invisible effects, 3D CG and
animation for Steven Speilberg’s romantic film ‘War Horse’ about a heroic young boy and his
horse Joey who together survive the violence of WW1.
A venture between Monash University’s Faculty of Arts and Faculty of Information Technology is
helping to preserve the history of Australia’s Indigenous population through animation.
Barton Damer, motion designer, digital artist and first-prize winner of Veer’s Creative Catalyst:
Design for Change Competition in January, talks about his journey from video and graphic
design into 3D motion.