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.
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.
An important part of cinematography is choosing media for projects. The advent of digital formats has continued to expand the options and potential for digital cinematography every year while film, and especially the look of film, continues to be the choice for many productions.
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.
The sorcerers have descended on New York, and suddenly no one knows what will happen next. VFX Supervisor Adrian De Wet at Double Negative describes some of the magic behind the spectacle in the ‘The Sorcerer’s Apprentice’.
Tippett studio’s shots in ‘Twilight Saga: Breaking Dawn Part 1’ were at the heart of two of major sequences featuring members of the film’s werewolf tribe, all of whom were digitally designed, built and animated at Tippett. Tippett has been creating the wolf characters for the Twilight Saga series since the second film ‘New Moon’ in 2009, followed by ‘Eclipse’ in 2010.
VFX Supervisor Soren Jensen and Colourist Dwaine Hyde from Digital Pictures joined forces with DP Mark Wareham to give ‘Underbelly: Razor’ its period looks, de-constructing the Sydney Harbour Bridge and creating the underworld of 1920s Sydney.
Head of Lighting for ‘Puss in Boots’, Mark Fattibene describes his team’s work on the movie, and shares insights into DreamWorks’ research on lighting stereo 3D projects and recent changes to their lighting pipeline.
Thirteen visual effects teams and VFX Supervisor Chris Townsend were recruited for ‘Captain America: The First Avenger’. Chris and three of these teams - Fuel VFX, The Senate and Method Studios - talk here about creating photorealistic environments with 2D and CG effects that are seamless, accurate and thrilling.
In 2002, Damien Oliver lost his brother in a tragic racing accident. Only one week later he overcame his loss and won the Melbourne Cup horse race in one of this event’s most celebrated victories. John Francis at Surreal World took on 'The Cup' as a one-man VFX team, helping to bring this great story to the screen.
Bringing Scott Pilgrim’s story from comic book to screen demanded effects from complex blue screen composites to integrating on-screen graphics and 3D CG. CG Supervisor Andrew Whitehurst at Double Negative talks about the intense look development and new approaches his team used in ‘Scott Pilgrim vs. the World’.
The people and creatures of ‘The Monster of Nix’ inhabit a world governed by its own laws of physics, from the enchanted forest to stormy skies to the cluttered village. During the project’s six year development, character animation evolved from stop motion, to 3D CG to its final combined live action-CG animated cast.
Several characters in ‘Green Lantern’ have been created from mixture of CG and live action elements, animated by preserving as much of the actor’s on screen performance as possible. The result is a truly hybrid super hero.
Director Roland Emmerich’s decision to accurately reveal London as it was at Shakespeare’s time in his film ‘Anonymous’ became an opportunity to use new visual effects techniques to rebuild the city from the ground up in vivid detail. VFX supervisors Marc Weigert and Volker Engel talk about the approaches and challenges.
Director and producer Di He at AIVFX in Canada explains the value of computer science and programming in developing customized render and production pipelines for animation. He and his team recently produced ‘The Birthday Gift’, a prizewinning animated short film.
Mr X met a formidable visual FX challenge in ‘The Three Musketeers’, building assets with millions of polygons, full CG shots in stereo 3D and perfecting light and textures on water and digital doubles. Digital FX Supervisor Eric Robinson and Lighting Supervisor Trey Harrell explain the details.
‘Salt’ made an exciting debut into feature films for Framestore’s New York facility. Evelyn Salt is a dangerous and mysterious CIA agent in a story that gives an emotional, human aspect to her character with uncertainty over her identity, driving the script, stunts and, ultimately, all visual effects.