(kdramastars.com) "Pirates of the Caribbean 5" fans have long been waiting for the fifth installment in the "Pirates of the Caribbean" franchise. Fortunately for the fans, it looks like they can finally get to see Jack Sparrow and the rest of the pirates by 2017, as the movie's directors, namely Joachim Ronning and Espen Sandberg, have officially announced that they were able to secure a release date for the blockbuster by 2017.
Still, there has not been any confirmation about when the production for the upcoming "Pirates of the Caribbean 5" will start. As reported, everyone is hoping that the movie gets to have a go-ahead for its production by early 2015.
According to online reports, Walt Disney just would not quit negotiating with the Australian Government to claim a 30% incentive for filming the massive budgeted "Pirates of the Caribbean 5" flick. To date, there is still no word on whether or not Australia has given their permission.
Some reports have indicated the initial negotiation with the Australian Government was for another movie, "20,000 Leagues Under the Sea." However, since David Fletcher has now left the director's spot for this movie, Disney is now interested to relocate "Pirates of the Caribbean: Dead Men Tell No Tales" to Australia as well.
Even if it is a known fact that the "Pirates of the Caribbean" franchise is most likely the biggest gold mine for Disney's blockbusters, preparing for the set has taken quite a toll on its production phase.
Still, fans will be glad to hear that Johnny Depp will be reprising his role as the infamous Captain Jack Sparrow and that he will be joined by his co-star Geoffrey Rush. As soon as Australia says "Yes," Depp and the rest of the team will most likely start to get on with the production stages.
If everything goes as initially planned for "Pirates of the Caribbean 5," Disney could be looking at a clean $21.6 million figure.
Despite Digital Domain Collapse, Textor Signs Deal with Elvis Estate
(palmbeachpost.com) John Textor, who led Digital Domain Media Group into a spectacular death spiral, is running a new company that said today it will create a hologram of Elvis Presley.
Textor’s latest venture, Pulse Evolution Corp. of Port St. Lucie, announced the deal with Presley’s estate.
“By leveraging state of the art human animation technology, Elvis will return to fans in the form of new and exciting entertainment and branding opportunities, including ‘holographic’ performances in live shows, commercials, and more,” Pulse Evolution said in a release.
Virtual likenesses of dead entertainers were part of Textor’s strategy at Digital Domain, which filed for bankruptcy and fired all of its Florida workers in 2012 despite receiving $135 million in state and city subsidies.
It was another virtual performance — a hologram of late rapper Tupac Shakur — that briefly halted Digital Domain’s demise in 2012. Pac performed Hail Mary, of all songs, at the Coachella Valley Music Festival in 2012.
"Babylon 5" To Be Rebooted As A Tentpole Feature Film
(io9.com) Original series creator J. Michael Straczynski has announced plans for a feature-length Babylon 5 film that would begin production 2016.
According to Straczynski's SDCC announcement, the film would not be a continuation of the 1990s television series, but an outright reboot. That said, Straczynski has said he would like to use original cast members where he can. "I'd love to see Bruce as the President of the Earth Alliance", he said.
It remains to be seen whether Warver Bros. will support the film financially, though it's possible Straczynski could finance it himself through his own production company. Via TV Wise:
The hope is that Warner Bros, who produced the Babylon 5 television series, would step up and green-light a "big budget" feature film once the script has been completed. But owing to the nature of the deal that Straczysnki inked with the studio to produce Babylon 5 in the early 1990s, he, rather than Warner Bros, owns the feature film rights to the show. Should Warner Bros. choose not to greenlight a B5 movie, Straczynski would still proceed with the feature, which would then be funded and produced through his Studio JMS banner on a budget of $80 - $100 million.
Google Buys Visual Effects Firm Zync
(variety.com) Google has acquired Zync, a firm that enables complex visual effects sequences to be rendered over the cloud.
Financial terms of the deal were not disclosed, however, Boston-based Zync, will now become part of Google’s Cloud Platform team, with both offering “studios the rendering performance and capacity they need, while helping them manage costs,” according to Google product manager Belwadi Srikanth in a blog post.
Zync Render, which was developed with visual effects studio Zero VFX, has been used to produce over a dozen films like “Star Trek Into Darkness,” “American Hustle” and “Looper,” and hundreds of commercials, totaling over 6.5 million core hours completed.
Visual effects sequences are typically processed using expensive render farms, “but with per-minute billing studios aren’t trapped into paying for unused capacity when their rendering needs don’t fit in perfect hour increments,” Srikanth said.
Until now, Zync, founded in 2011, has promoted Amazon’s Elastic Computer Cloud hosting platform, saying on its website that EC2 “is the only public-cloud that meets or exceeds MPAA security requirements with a Best Practices rating award.”
“Since its inception at visual effects studio Zero VFX nearly five years ago, Zync was designed to not only leverage the benefits and flexibilities inherent in cloud computing but to offer this in a user-friendly package,” Zync said in a statement. “Pairing this history with the scale and reliability of Google Cloud Platform will help us offer an even better service to our customers — including more scalability, more host packages and better pricing (including per-minute billing). With a friction-free, affordable, and elastic rendering solution, visual designers and artists in the industry can continue to do their best work.”
Zync becomes the latest company Google is adding to its portfolio.
It has purchased 26 other companies this year. It acquired consumer electronics designer Gecko on Aug. 23.
2015 OSCAR PREDICTIONS: BEST VISUAL EFFECTS
(UPDATED: AUGUST 20, 2014)
This seems like something that is heavily favored for Christopher Nolan’s “Interstellar” but “Dawn of the Planet of the Apes” has to avenge its older brother’s death at the last Oscar-go-round. “Guardians of the Galaxy” is also slick around the edges and its about time one of the Marvel films scores in the below the line categories. And then there’s films like “Noah” or “Maleficent” that could factor in.
Vote today: http://www.awardscircuit.com/
Rejected Concept Art For "Ninja Turtles"
(darkhorizons.com) Long before the Michael Bay-produced "Teenage Mutant Ninja Turtles" reboot went into production, various visual effects houses met with the filmmaker to determine who might work on the film along with suggestions of potential turtle designs.
Illusion Industries concept artist Anthony Francisco has now shared the concept artwork he created as a part of the company's pitch to work on the film. The company wasn't hired, but the art shows you just what kind of ideas were being floated.
Take a look: http://www.darkhorizons.com/
Review Your VFX Company
"If you don't have a life, that's the place for you." Read more: http://thevfxwatchers.com/
Review your VFX shop today: http://thevfxwatchers.com/
Pacific Rim 2 Release Date Rushed Due To Godzilla 2014 Success?
The Godzilla 2014 movie garnered a better-than-expected $93 million in U.S. ticket sales in its opening weekend and another $103 million from 64 overseas markets, the best international debut so far this year.
According to Business Week, Godzilla crushed in the U.K. and Russia, while Mexico-normally a tiny movie market-ended up as the movie's third-biggest foreign box office, with $9 million in ticket sales.
The massive debut easily towered over the last time the Japanese lizard hit theaters, in 1998. Adjusted for inflation, that movie grabbed $81 million during its opening weekend.
The contemporary Godzilla deployed a savvy strategy for attacking consumers. The film made sure not to miss large-format theaters, where fanboys and fangirls were happy to pay premiums for a supersize experience. Some 15 percent of the weekend's ticket revenue came from IMAX theaters, as each of the 353 giant screens that showed the film took in $40,057 on average.
It also helped that the movie isn't terrible, with raves from some critics and a 73 percent approval rating on Rotten Tomatoes, which aggregates professional reviews.
But how does all of this relate to Pacific Rim 2?
Legendary Pictures CEO Thomas Tull confirmed that he and Guillermo Del Toro are talking about Pacific Rim 2 and they are planning all the new stuff that will appear on the movie:
"I was literally just with Guillermo on the set of Crimson Peak," said Tull. "We talk about it and have some pretty great ideas. If they come to fruition and we get a great script, then we're open to it. Fans seem pretty passionate about it and working with Guillermo. So, we're open to it."
And Guillermo Del Toro is doing just that as it was reported that he is now writing a script/story draft to Pacific Rim 2
And not only that there are rumors circulating in various social networking sites that not only will Pacific Rim 2 have a new cast of characters and the film will take place in Japan, it will take some cues from iconic Japanese mecha animes in that Pacific Rim 2 will have Jaegers that will be formed via "combining" similar to Voltron!
This rumor comes from the fact that in Pacific Rim, the Kaiju's were being created to specifically counter the Jaegers. How can the humans counter the ever adapting Kaijus? By making Jaegers with "changing" parts by having it combine with different body parts each fight.
Real or CGI? Take the Digital Art Celebrity Quiz
(cgtrader.com) Digital artists are often overlooked when the conversation turns to “the real art” like oil painting, drawing or sculpture, since the old-fashioned view is that no art can be born without a brush, a pencil or a colour palette. Sure, it takes a great amount of talent and skill to master these techniques, but so does the digital art. Take the quiz to find out how much of an art dealer you are - can you tell which of these images are CG-generated (fake) and which are real photographs?
Is this image real or fake? http://www.cgtrader.com/blog/
Go Inside ILM For "Transformers: Age of Extinction" Blu-Ray Extras - "Rise of the DINOBOTS"
(darkhorizons.com) Several new TRANSFORMERS characters make their live-action debut in this film. Get a brief history of the new recruits and then go inside Industrial Light & Magic to see how they were designed and conceptualized for the film.
Full article: http://www.darkhorizons.com/
1954 Godzilla Stomps Back in Ultra HD 4K
(cbsnews.com) TOKYO -- At a humble Tokyo laboratory, Godzilla, including the 1954 black-and-white original, is stomping back with a digital makeover that delivers four times the image quality of high definition.
The effort with "4K" technology is carefully removing scratches and discoloration from the films and also unearthing hidden information on the reel-to-reel.
Experts say the chemical reactions used to make old movies stored far greater detail than was visible with the limited projection technology of the era, as well as with subsequent digital updates.
If all the hidden information of a reel-to-reel is ever brought out, quality would approximate 8K, they say.
Only one minute from the original film and from each of the sequels has been turned into 4K so far but the results are stunning enough.
Faded, blurry, yellowing footage of the radiation-breathing creature that emerged from the Pacific after atomic-bomb testing turns sharp, clear and vivid. It almost looks like state-of-the-art animation.
It's better than the original, said Toshifumi Shimizu of Tokyo Laboratory Co., the studio that undertook the painstaking effort.
"You can feel the impact of the bodies banging into each other under the suits," he said in an interview Wednesday with The Associated Press.
He said many scenes are more real and emotionally moving than what is achieved by today's computer-graphics manipulation, widespread in Hollywood blockbusters.
The details of the cityscape models, the bumpy skin of Godzilla and the metallic shine of the robots are revealed as they once were.
The craftsmen at the lab made a point to keep visible the wires from which the flying monsters hung. The goal was to stay true to the intention of the original.
In turning Godzilla films into 4K, each frame of the reel-to-reel is scanned by a special machine. Each frame is then examined for blotches and other damage that has crept in over the last 60 years. Any problems with a frame are fixed on a computer, one by one, by a film-processing specialist.
Shoko Ideriha, one of the specialists, said the team pieced together the best segments, working with the only three copies left of the 1954 Godzilla. She compared fixing film to being a doctor treating a patient.
Shoko Ideriha, a film process technician in charge of archive, checks the negative of a movie prior to scanning for digitization at Tokyo Laboratory Ltd., Wednesday, Aug. 27, 2014.
AP Photo/Eugene Hoshiko
The big catch is that 4K, also known as ultra-high definition, or Ultra HD, can't be seen in most homes or theaters yet.
For one, you would need a 4K TV, which is not cheap. Sony's 85-inch model sells for $25,000, although prices are gradually coming down overall.
More crucial still, 4K broadcasting is virtually non-existent. In Japan, it's available only in limited test programming.
But believers swear that it will become the standard of the not-so-distant future. Other movie classics, such as "Lawrence of Arabia" and "Gone With the Wind," have turned 4K.
What 4K promises for movie classics is astounding, said Takashi Sawa, of Nihon Eiga Satellite Broadcasting Corp., which aired all 28 Toho Godzilla classics for the 60th anniversary of Godzilla's birth, which fell this year and marked the debut of Gareth Edwards' Hollywood Godzilla.
Nihon Eiga also aired a special program on the 4K Godzilla project on its cable network, which broadcasts to 7.5 million households in Japan.
Restoring movie classics into 4K might do wonders for the chicken-and-egg dilemma for new technology, which generally won't take off until there is content people want to watch.
"TV drama shows shot in digital cannot be restored as 4K," he said. "But Godzilla can become 4K."
The Digital Double METHod - Making Of 'You're Goddamn Right!'
(3dtotal.com) My name is Riccardo Minervino, I'm 36 years old, and I currently live in Japan where I work as 3D artist for video games.
I decided to make this fan art after I finished watching all the seasons of Breaking Bad, because I really liked the show and I think the main actor, Bryan Cranston, has an interesting face, so I thought it would have fun to model him.
Take a look: http://www.3dtotal.com/index_
VFX Tariff Law - Trade Provision Supporting ADAPT Legal Effort
(vfxsoldier.wordpress.com) Big news came last week as CA bill AB1839 was amended:
An amendment to proposed legislation to expand California’s film and TV tax credit urges trade action as a response to countries that have lured visual effects firms away with the promise of generous subsidies.
Huge thanks to everyone who helped and Assemblymember Mike Gatto for standing up to the studios and writing a provision into a bill he co-authored supporting out effort. While it’s a huge step in the right direction, I obviously have issues with the subsidies in the bill and was hoping that the trade provision had more teeth to it.
When our law firm helped the shrimping industry get trade relief from injurious subsidies, the government of Louisiana actually helped fund the legal effort. Since our legal effort costs a fraction of what the hundreds of millions of dollars in subsidies needed, we felt it would’ve been a small cost that could lead to a more effective outcome.
-H "If you imagine yourself as a craftsman at ILM, you spend your days tumbling buses and animating shards of glass." -Gore Verbinski