Worth a mention - 02/28/12

The Lone Ranger Starts Principal Photography

(Walt Disney Pictures) Disney and Jerry Bruckheimer Films announced today the start of principal photography of The Lone Ranger:

Production has commenced on location in New Mexico, Arizona, Utah and Colorado on Disney and Jerry Bruckheimer Films’ epic adventure “The Lone Ranger.” The film reunites the filmmaking team of the first three “Pirates of the Caribbean” blockbusters—producer Jerry Bruckheimer and director Gore Verbinski—with Johnny Depp, who created Captain Jack Sparrow in his iconic, Academy Award®-nominated performance and contributed the voice of the title character of Verbinski’s Academy Award-winning “Rango.”

Depp plays spirit warrior Tonto in “The Lone Ranger,” with Armie Hammer (“The Social Network,” “J. Edgar”) starring in the title role. Depp and Hammer are joined by a prestigious international cast which includes Tom Wilkinson, two-time Academy Award nominee (“Michael Clayton,” “In the Bedroom”) and Golden Globe® and Emmy® winner (“John Adams”); William Fichtner (Jerry Bruckheimer’s productions of “Armageddon,” “Pearl Harbor” and “Black Hawk Down”); Emmy Award-winner Barry Pepper (TV’s “The Kennedys,” “True Grit,” “Saving Private Ryan”); James Badge Dale (“The Grey,” TV’s “The Pacific” and “Rubicon”); Ruth Wilson (television’s “Jane Eyre” and “Luther”); and two-time Academy Award nominee and six-time Golden Globe nominee Helena Bonham Carter (“The King’s Speech,” “Alice in Wonderland”). The film is slated to open on May 31, 2013.

“The Lone Ranger” is a thrilling adventure infused with action and humor, in which the famed masked hero is brought to life through new eyes. Native American spirit warrior Tonto (Johnny Depp) recounts the untold tales that transformed John Reid (Armie Hammer), a man of the law, into a legend of justice—taking the audience on a runaway train of epic surprises and humorous friction as the two unlikely heroes must learn to work together and fight against greed and corruption.

“The Lone Ranger” is written by Ted Elliott & Terry Rossio of “Pirates of the Caribbean,” Eric Aronson and Justin Haythe. The executive producers are Mike Stenson, Chad Oman, Ted Elliott, Terry Rossio, Eric Ellenbogen and Eric McLeod.

“The Lone Ranger” will film exteriors and studio work in New Mexico, followed by locations in Arizona, Utah and Colorado.




The Avengers To Be Renamed Avengers Assemble In The UK

(bleedingcool.com) In the sixties, there was a British TV series that also aired in the US, called The Avengers. A tongue-in-cheek spy action adventure series starring a bowler hatted pinstripe-suited dapper fellow and selected beauties in skintight leather as his foil.

They even made a rather poor film of the series a few years ago. Everyone tried to forget it.

Nevertheless, that original Avengers TV show still has a certain following in the UK and, it seems, in an attempt to avoid confusion,the upcoming Marvel Studio film The Avengers is to be renamed Avengers Assemble for the UK market. And here’s the new poster as proof…

Take a look: http://cdn.bleedingcool.net/wp-content/uploads//2012/02/02_AVG_Online1Sht_UK2_rgb.jpg?f2df00




Why Andrew Stanton Dedicated ‘John Carter’ To Steve Jobs

(slashfilm.com) When Steve Jobs died in October of last year, it was a blow to us all. The loss was felt especially hard at Pixar, the successful film company he helped not only create, but isolate from the Hollywood machine. John Carter, directed by one of Pixar’s most prolific directors, Andrew Stanton, comes out next week and though it’s not Pixar, the film is dedicated to the memory of the legendary businessman and inventor. During the credits, a card says:

Dedicated to the Memory of Steve Jobs, an Inspiration to Us All

At a recent press junket, Stanton was asked why he decided to dedicated Carter to Jobs and his answer was both logisically sound and beautifully poignant. Read it after the jump.

Here’s what Stanton said when asked if he’d talk about why the film was dedicated to Jobs:

We just happened to be, sadly, the first production up that was Disney that wanted to give [a dedication]. And I personally wanted to. I talked to John [Lassater] about it because I didn’t want to steal any thunder from Pixar’s dedication because that’s really the real family member for Steve. But it felt right just cause I didn’t want too much time to pass without giving him some sort of permanent acknowledgement. And I talked to his wife.

It was kind of eerie because on the set I would get asked all the time, from all these people, ‘What Pixar was like?’ And it was fascinating to talk to all these movie people that knew all the films, but some of them didn’t even know Pixar was in San Francisco. It was funny. They knew of us, they knew of these movies and knew there was something different but they didn’t get it to the point [where they knew] where we were and stuff. And it would be such a long explanation to them about, trying to tell them why it ran differently and why the movie came out the way they did, that I ended up just simplifying my answer down to ‘Steve. Steve’s why.’

And I did really realize how much, because I was now living it. I was now pregnant with the dysfunction of Hollywood to make this movie and how this all works, the good and the bad, and it was amazing to see how much he had firewalled us from. Like we knew he had, but he had truly firewalled us and protected us from all the bad influences of the outside world and we had just been raised in this little eden in San Francisco and had no clue how bad it could be. And so I really have to give so much more credit to him than I ever was, even though I always was, of how much he was a major factor for Pixar.

John Carter, complete with Steve Jobs dedication, will be released March 9. Check back soon for our one-on-one interviews with Taylor Kitsch and Andrew Stanton.




Marin Planners OK Huge Lucasfilm Project

(mercurynews.com) Filmmaker George Lucas' plan for a huge digital production studio on the old Grady Ranch in Lucas Valley won a unanimous vote of approval from Marin County planning commissioners Monday as officials agreed the project was in line with a master plan approved more than a decade ago -- and will have little impact on the environment.

The project, which will be largely hidden from view, will take three years to complete. The commission's decision may be appealed to the Board of Supervisors.

The panel acted after considering the project and an environmental analysis for more than six hours, during which three dozen speakers rose to take stands pro and con. A commission request that those on opposite sides rise indicated the audience of about 100 people was fairly evenly split on the project.

Lucas wants to transform 52 acres into a three-story digital technology production center flanked by two towers rising amid 187 acres of open space. Plans feature 51,000 square feet of film stages, 27,918 square feet of screening rooms, a 4,381-square-foot cafe, a 1,151-square-foot kitchen, 20 units providing 11,228 square feet of guest quarters, a general store and a gym. The building will top underground parking for 202 cars and 24 bicycles.

Outside, plans include nine bridges spanning creeks, as well as a 4,000-square-foot cave to age casks of wine from the filmmaker's 35 acres of vineyards. Excavated material will be used to build a knoll hiding
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the project from neighbors, and to shore up, raise and restore Miller, Grady and Landmark creeks.

Neighborhood residents called the large commercial structure with a footprint bigger than two football fields an aberration in their quiet residential community. They expressed worries about noise, traffic and night lighting, grading and creek erosion, and complained the project was being rushed without adequate environmental study -- and, in the case of downstream sedimentation and related issues, little apparent study at all.

But advocates called Lucas a good neighbor who spared the valley from suburban sprawl by saving 5,000 acres as open space, noted his other projects have proceeded with few if any problems, and added the latest plan will generate jobs and tax revenue while eliminating potential for residential development on land once zoned for up to 800 dwellings.

Commissioners came down solidly behind Lucas.

"It's a pleasure for me to vote yes," said Commissioner Katie Crecilius, citing the project's land stewardship, creek restoration program and "very attractive" design. "To tell you the truth, I'm a little sorry it's hidden from view."

Commissioner Don Dickenson generally agreed, although quickly added he wasn't unhappy the project will be screened behind a man-made knoll and landscaping.

Dickenson, rejecting claims from some that the use of the structure had changed from office use approved earlier to a commercial film factory, said county supervisors intended for the offices to support film production and added the latest project "was very clearly consistent with what the board approved in 1996."

Dickenson worked on Lucas' nearby Skywalker project in the 1970s as a county planner, but then as a San Rafael resident joined foes of initial plans for Grady Ranch, arguing then the use was inappropriate for the area. The land use decision was made by supervisors in 1996, he noted, and that battle is over.

But he added that much to his surprise, he found much to like about the new development plan, including its creek restoration program aimed at reducing erosion and sediment. He added he was stunned on a recent visit to Skywalker Ranch to view the extraordinary restoration of the old Bull Tail Creek.

"I was amazed," he said. "It's a totally different creek" after old cars, tires and other debris dumped over the years were removed and the area restored and replanted.

Commissioners tweaked a number of conditions, but in substance adopted recommendations of the planning staff, which noted the project was less intensive and more environmentally friendly than the project proposed in the 1996 master plan.

They limited on-site population of workers and guests to 340, required that the structure be painted a darker shade of tan, and said on a split vote that any further expansion plan may trigger a full-blown master plan hearing. At issue is 95,000 square feet of building space approved in 1996 but not part of the current project, and Lucasfilm officials may return at some point with plans for an archival storage building.

The commission vote came after a parade of speakers took varying stands.

Liz Dale, president of the Lucas Valley Estates Homeowners Association, which includes 174 homes next door to the project, repeated assertions that estates residents were not notified about the project in 1996, when the county approved a master plan outlining an even bigger complex next door.

Carolyn Lenert, head of the North San Rafael Coalition of Residents, added that a "rush to judgment" resulted in a process so flawed that residents were unable to get adequate information about the Lucas plan, and noted that a thick report on the project was issued by the county just a week ago.

Tom Taylor of Lucas Valley, an architect, said he was "appalled by the poor design of this project" that required 480,000 cubic yards of grading.

Others expressed concern about what will happen after Lucas' holdings pass on to his heirs. "Could it become a theme park? ... A resort hotel? A wine tasting establishment?" wondered Joy Dahlgren.

Other critics included the Marin Conservation League, Marin Audubon Society and the Las Gallinas Valley Sanitary District, which called for study of sedimentation impacts affecting its plant, more review of creek hydraulics and suggested the project use recycled water produced by the district.

But advocates cited Lucas' 30-year record of being a "good neighbor." Nicasio residents reported no problems with his development at Skywalker Ranch, and noted Lucas provides a firefighting force that helps the county without any taxpayer support.

Aimi Dutra, president of the Marin Builders Association, said the project would provide jobs that would help ease the construction industry's economic woes. "We are in a crisis" and the project will put people to work, she said. "They have a solid record, employ thousands of people and contribute millions to our economy."

"This is a fabulous company," added Cynthia Murray, head of the Northbay Leadership Council, of which Lucasfilm is a member. "It is a crown jewel for Marin. They have just been unbelievable stewards," she said, calling the plan a "model project."

Robert Eyler of the Marin Economic Forum said the project will create 690 jobs, including 460 construction jobs, adding that every job Lucasfilm creates in turn generates 2.7 more jobs for the Marin economy overall. Every $100 million in construction costs will provide an additional $82 million economic boost for the county -- in addition to $3.9 million in tax revenue, he estimated. "You're really talking about a job generator for Marin County," he said.

Dale Miller of the Lucas Valley Homeowners Association said that while the organization remains "neutral" on the project, he was an enthusiastic supporter.

And Jeff Grady of Novato, who remembered growing up on the old ranch run by his grandfather, Bob, said it is time to allow Lucas to move forward.

A master plan was approved 15 years ago, Lucas donated 800 acres of that ranch to the county as open space, and has met other conditions. "He has more than made good on his obligations," Grady said.





6 Animators Turned Filmmakers

(shadowlocked.com) Who knew animator to director was a legitimate career path?

The recent success of Mission Impossible: Ghost Protocol (2011) has seen Brad Bird make the successful jump from animation to live-action filmmaking. Bird is best known for his work on Pixar productions The Incredibles (2004) and Ratatouille (2007), and for his cult classic animation The Iron Giant (1999).

Alongside Bird, this year a number of prominent animators are set to follow the same course. The upcoming buddy cop comedy 21 Jump Street (2012) – based on the popular eighties TV show of the same name – is being directed by Phil Lord and Chris Miller, the duo behind Cloudy with a Chance of Meatballs (2011). March will also see Bird’s colleague from Pixar Andrew Stanton, director of Finding Nemo (2003) and WALL-E (2008), enter the live-action arena with the big-budget blockbuster John Carter (2012).

Whereas it may seem a somewhat risky prospect to hire an animator to helm a major production, the likes of Bird and his cohorts are not the first individuals to make the transition to live-action filmmaking. In fact, some of the most successful and critically acclaimed contemporary directors started off as animators.

Full article: http://www.shadowlocked.com/201202272409/lists/6-animators-turned-filmmakers.html





Digital Domain Stereo Group Head Jeff Barnes Talks Business

(studiodaily.com) In 2010, Digital Domain acquired In-Three, creator of the proprietary Dimensionalization technology for 2D-to-3D conversion, and moved the bulk of its staff to Florida, where it was renamed the Digital Domain Stereo Group and became a key part of the new strategy for its parent company. The group is headed by Jeff Barnes, who co-founded The Computer Cafe Group in 1993 and worked as a VFX producer and/or production executive on films including Alice in Wonderland, Spider-Man 3, Sin City, and Pan's Labyrinth. He's also a board member and past Chairman of the Visual Effects Society. In an exclusive interview with StudioDaily, we asked him about DD's value proposition for 3D conversions, the company's co-production strategies, and staying ahead in a brutal business environment.

SD: It was kind of surprising to see the public backlash against 3D conversions that came with the release of Clash of the Titans.

JB: That was an interesting statement. It was the first time the public rose up and said, "We're not going to pay for this." On the other hand, I think Titanic is going to be huge for the industry, as well as the success that Disney has seen with animation conversion projects like The Lion King and Beauty and the Beast. The studios realize that they can repurpose all of their old titles and make a reasonable return as long as they take the time and do it right. And it really is about being realistic with time frames and budgets. Great stereo conversion work can be achieved if those parameters are kept in check.

Full article: http://www.studiodaily.com/main/news/headlines/Digital-Domain%C2%A0Stereo-Group-Head-Jeff-Barnes-Talks-Business_13679.html




Sony Acquires Dracula Mythology Pitch

(darkhorizons.com) Sony Pictures has acquired an untitled new pitch from "Machine Gun Preacher" and "Mirror Mirror" scribe Jason Keller described as a period origin story on the Dracula mythology reports Deadline.

"Snow White and the Huntsman" producers Joe Roth and Palak Patel will produce this film which the studio reportedly hopes will launch a period franchise.

The film joins several other Dracula-themed projects currently in development at the major studios, many with similar ideals of going back to the story of 15th century Romanian prince Vlad III whose bloody battles against the Ottoman Empire's expansion inspired his nickname (Vlad the Impaler) and the name of the titular vampire in Bram Stoker's classic 1897 novel.

Amongst them is Universal's "Dracula Year Zero" which previously had Sam Worthington attached to star, Warner Brothers' "Harker" with Russell Crowe linked, and a contemporary apocalyptic-themed film based on the novel trilogy by Guillermo del Toro and Chuck Hogan.



Pa. Film Studio to Feature 'Avatar' Technology

(AP) PITTSBURGH — A Pittsburgh film studio has made deals with the creators of the computer animation used in the movie "Avatar" and other groups to open a new motion-capture production facility that is the first of its kind outside of Hollywood.

Chris Breakwell of The 31st Street Studios announced the deal that involves "Avatar" animators Knight Vision, Carnegie Mellon University's Entertainment Technology Center and Paramount On Location, a division of Paramount Studio Group that moves lighting, rigging and other movie-making equipment to remote shooting locations across the country.

Knight Vision creates computer animation by having humans wear costumes fitted with digital markers that computers can use to transfer the person's motion to an animated character. But the company's innovation is that filmmakers can see the digitally-created characters where they will appear in the film frame instead of having to imagine where they will be added using computers after the fact.

"We're going to do things no one else is doing anywhere," said James Knight, the company's founder. He's creating a new company, Knight Vision 31, that will employ technology even more advanced than that used to animate the 2009 Oscar-winning "Avatar" for Breakwell's Pittsburgh studio along the southern shore of the Allegheny River.

Knight said state tax credits and the chance to work with Carnegie Mellon University were keys to the Pittsburgh deal. The state offers up to $60 million in tax credits annually that filmmakers can put toward some production expenses, provided at least 60 percent of a film's total budget is spent in the state.

CMU's entertainment technology students will work with Knight Vision technology and hopefully become skilled enough to work for the company or do their own similar work.

"This is the way of the future," said Anthony Daniels, an actor and visiting professor at the Entertainment Technology Center, who is best known for portraying the cyborg C-3PO in the "Star Wars" movies. Daniels quipped that the studio deal is a "great coming together of the forces."

Movie productions have injected about $300 million into the Pittsburgh area in the last three years, including "The Dark Knight Rises," the new Batman sequel starring Christian Bale, and the Tom Cruise thriller "One Shot," both filmed in the city last year.

"Pittsburgh really is becoming the Hollywood of the East," Allegheny County Executive Rich Fitzgerald said at Monday's news conference. But even more exciting than having Bale and Cruise come to town is economic growth, Fitzgerald said.

"What it really means to us is jobs," he said.




Universal Wants to Make More VFX Blockbuster Films

(latino-review.com) Imagine you’re Peter Berg. You used to be known best for your acting (and still are in some circles), but lately you’ve decided to focus on directing. You’ve directed mostly smaller films and produced/created a critically lauded television series based on one of your movies. You directed one of Hollywood’s biggest stars in one of his most profitable films, and now you’ve been handed the reigns to a movie Universal Pictures is setting up as their summer of 2012 tent pole film. You’re getting the script sorted out and lining up your actors when the heads of the studio call you into an urgent meeting. Needless to say, you’re slightly concerned.

You expect them to say, “Its too big, too expensive. Make it smaller. In these economic times, with audience attendance down, we want to spend less!” Instead they tell you to add another major action sequence and throw millions of dollars more into your budget. This is what happened to Mr Berg, and, understandably, he was shocked.

“It was one of the craziest meetings I’ve ever had,” recalled Berg. “They said, ‘We want to go bigger.’”

Universal Pictures has not been having a good run of it lately, they’ve been consistently on the bottom when ranking the major studio’s profits and have decided to make some changes.

Adam Fogelson and Donna Langley, chairman and co-chairman of Universal Pictures have decided to change Universal’s normal release tactics. Ordinarily they would only release one tent pole film per year. This year, however, they are releasing three: Berg’s Battleship, costing $211 million; along with Snow White and the Huntsman and the Keanu Reeves starring 47 Ronin, which each have a budget of $175 million.

Fogelson on the new thinking:

“This year you can see us marrying a new strategy with a level of resources that Universal has not had in the past. We are in complete agreement that we need to do better and are optimistic that we will.”

The new level of resource comes from Philadelphia’s Comcast Corp., who bought a controlling interest in NBCUniveral, the studio’s parent company.

Langley’s perspective:

“We can no longer afford to make movies that we love creatively, but where the scenario for success is marginal and the scenario for failure is cataclysmic.”

One of the reasons Fogelson and Langley have chosen to focus on the bigger budget spectacles is the overseas market. Huge franchise films like Transformers and Pirates of the Caribbean have done exceptionally well over seas and those markets seem to prefer the larger films.

I’m not sure how I feel about Universal openly sacrificing creativity for profits. From an artistic perspective its a glaring misstep, but from a business perspective it makes sense, at least on paper. After all, it is called show business. There must be a happy medium though.



San Francisco's Stop-Motion Explosion!

(missionlocal.org)

Start: March 3, 2012 8:00 pm

Venue: Oddball Films

Address: 275 Capp Street, San Francisco, CA, United States, 94110

Oddball Films and guest curator Kat Shuchter bring you Stop-Motion Explosion!, a program of mind-blowing stop-motion animation from the 1930s to the 1980’s. In a world saturated with CGI, Oddball Films opens the vaults to celebrate when historical, fantastical and anthropomorphic creatures were hand-sculpted and manipulated into “life.” Blast off with original 1957 Gumby shorts, in which our little clay buddy goes to Space, nearly gets eaten by a chocolate éclair and trampled by a giant glob. Frog and Toad Together (1987) brings to life the classic children’s book with the adventures of the beloved green life partners. Sink your teeth into The Munchers (1973), a psychedelic oral hygiene rock opera that will educate your sweet tooth. Then, get ready for epic battle on small-scale and mild historical-inaccuracies in Dinosaurs: The Terrible Lizards (1986). And the Japanese once again outcute the world in The Ant and the Grasshopper (1967). With jazzy and stylish George Pal Puppetoon Cavalcade of Music (1934) and so much more! It’s a night millions of minute movements in the making!

Find out more about these films here.



The North American Film Subsidy Trade War

(vfxsoldier.wordpress.com) Film Works LA Campaign Manager and lawyer Adrian McDonald published a superb 81-page case against state film subsidies. It’s a great weekend read for anyone interested on educating themselves on the whole matter. It’s available here:

http://www.stop-runaway-production.com/wp-content/uploads/2009/07/McDonald_To-Send-to-Author.pdf

Essentially what is happening in the USA and provinces of Canada is a trade war. Various locations are engaged in protectionism against market economics by offering artificial prices to producers through film subsidies.

This is a race to the bottom and I’ve always said on this blog “In a race to the bottom, the last one left standing is the biggest loser.”

That notion is surprisingly mentioned by Canadian officials in comments on their own subsidies as Mr. McDonald points out. Here is the Toronto Film Office:

There is a race to the bottom going on worldwide to establish Booniewoods around the globe. This is a race Toronto doesn’t want to win.

Within North America our success has been successfully copied. Even though the provincial government raised the Ontario tax credit in 2005 to try and fend off the competition, the competition simply raised its credits higher. The race to the higher tax credit is another one we can’t win.

and British Columbia:

At some point, British Columbia may be either unable or unwilling to match another region’s incentives, which could leave BC’s film production industry with a shortage of foreign productions wanting to film in the province.

Adrian also covers the failed 2007 attempt to get the US Trade Representative to petition the WTO to stop the subsidies. I feel he writes the effort off too easily.

It is the sole discretion of the US Trade Representative to approach the WTO with a dispute. As Adrian points out, we still to this day do not know the exact reason for the denial. The freedom of information act request was redacted.

According to some sources involved, I was told the petitioners actually withdrew their complaint. Who knows what was going on there. Also its important to note that this complaint was filed during the Bush administration and relatively low unemployment. The Obama administration certainly sounds interested in combating subsidies and unemployment levels are troubling.




Disney Flexing Their CGI Muscles

(holymoly.com) Here is the latest clip from the upcoming Disney alien film John Carter. The animations of the aliens are very impressive, as is the desert landscape of the planet of Barsoom. BUT WE DON'T UNDERSTAND WHY HE'S A SUPERHERO.

It's that canyon jump. It looks like something you'd see in The Mummy (which came out twelve years ago). Considering director Andrew Stanton has worked on pretty all of the early Pixar films (Toy Story, WALL-E, Finding Nemo and A Bug’s Life) you'd expect a better level of detail.

Anyway, that minor bother aside, it's still looking good to us. Good to see Mark Strong in another film. His 38th this year, in fact.

DON'T TRY TELLING US IT'S THE GRAVITY. THAT JUST WON'T WASH.

VIDEO - Take a look: http://www.holymoly.com/film-dvd/video/latest-john-carter-clip-disney-flexing-their-cgi-muscles61958



Why 'Rango' & 'Hugo' Won at the Oscars

(news.cnet.com) With no Pixar film to beat, 'Rango' won the Academy Award for best animated feature, while "Hugo" won for best visual effects. Both victors show things are changing in Hollywood.

Martin Scorcese's 'Hugo' won the Oscar for visual effects Sunday night in Hollywood. At the same time, Gore Verbinski's 'Rango' won the Academy Award for best animated feature.
(Credit: Screenshot by CNET)

If there's been one thing you could count on every year since the Academy Awards started honoring animated features, it's that Pixar would walk away with the Oscar. Through last year, six of the studio's eight films won golden statuettes.

But Pixar's 2011 entry, "Cars 2," a box office success but a critical failure, not only didn't win on Sunday, it wasn't even nominated. And that meant a golden opportunity for a slew of other animated filmmakers.

In the end, it was "Pirates of the Caribbean" director Gore Verbinski's "Rango" that emerged with the Oscar, beating out "A Cat in Paris," "Chico & Rita," "Kung Fu Panda 2," and "Puss in Boots."

A lot of people liked "Rango" and it broke ground with its realistic approach to making an animated Western.

In making the film, Verbinski "wanted to be able to smell the breath of the characters," Kevin Martel, the film's associate animation supervisor, told CNET last year. "The feeling was that if you were to take a deep breath, you'd inhale all that dust and dirt, and you'd probably start coughing."

And though "Rango" clearly succeeded with that approach, the movie didn't stand out from the rest of the field the way that, say, Pixar's "Toy Story 3" did a year ago, nor was it a major box office blockbuster. So the question is, in a year where there wasn't a no-doubt-about-it animated film, is there a way to tell why "Rango" won?

With all due respect to Verbinski and the team at Industrial Light & Magic that applied to "Rango" the visual effects tricks it generally uses on live action movies, the film's Oscar win probably wouldn't have happened if "Cars 2" had been as well loved as most of Pixar's other films have been.

But that said, "Rango" was a success that managed to win over the many different constituencies among the Academy of Motion Picture Arts and Sciences--the cinematographers, the actors, the animators, and more. "If you look at 'Rango,' a lot of filmmaking disciplines are well represented," said David Cohen, an editor at Variety. "That movie is beautifully lit, the costuming is creative, those animated characters actually act pretty well, the production design is gorgeous, [and] the writing is eccentric. It's not the same old family pablum."


Indeed, Cohen said that he'd fully expected "Rango" to come away with the win. The big surprise in the animated feature category this year, Cohen said, was that "Cat in Paris" and "Chico & Rita" nabbed nominations but Steven Spielberg's "The Adventures of Tintin," which had beautiful animation based on performance capture, didn't.

Cohen said that it's always difficult to explain why the Academy votes the way it does, particularly because "they don't vote as a bloc [and] there's not a cabal here." But he said "Tintin" was likely snubbed because, in his opinion, "I think animators in general, and the animation branch of the Academy in particular, really don't much care for performance capture."

'Hugo' wins for visual effects
Some years, there's simply no doubt about which film will win the Oscar for best visual effects. In 2010, for example, there probably wasn't a person in Hollywood who thought any movie but James Cameron's "Avatar" would win.

This year, there was no "Avatar," and in the end, Pixomondo's Rob Legato and his team won for their visual effects work on Martin Scorcese's "Hugo."

This was just the second year that the Academy has picked five nominees in the category--there had been three in the past--and that was in part, Cohen explained, because the state of visual effects hadn't yet advanced to the point where there were five films each year that deserved to win. "One reason they were slow to move to five," Cohen said, "is that there were worries inside the [Academy's] visual effects branch that if they had five, an unworthy film [could] win."

But now, Cohen added, that's no longer true. The field is much deeper, and "the difference between the first best visual effects [film] and the sixth or seventh is pretty small."

Cohen said he had expected "Rise of the Planet of the Apes," with visual effects by "Avatar" winner Joe Letteri and his team at Weta Digital, to snag this year's Oscar. But he also said he wasn't surprised that Legato won for "Hugo." In fact, Cohen said that either "Hugo," "Rise of the Planet of the Apes," or "Transformers: Dark of the Moon" would have been unsurprising choices.

But "Hugo" surely deserved to win, in part because of the way Hollywood may finally recognize that visual effects are an art on par with older specialties like cinematography or sound editing.

"What's interesting to me about 'Hugo' winning for visual effects," Cohen said, "is that it seems to me that what was being recognized was the beauty of the work, and not the scale and innovation of the work. And visual effects [Oscars] have tended to go more for scale and innovation rather than beauty. It's probably a sign that the category is becoming more of a normal category."




Saluting Japan’s Computer Graphics Pioneers

There was a revolution in the 1980s. It started in the military and the space industry, but it didn't use rockets or weapons. Instead, it used computers and floppy disks. The revolution was the proliferation of computer graphics, and it soon spread to entertainment.

"Japanese institutions were just as avid as its American and European
counterparts to follow the trend," Shuzo Shiota recently told Kotaku. Shiota should know; he's the president of Polygon Pictures, Japan's biggest and oldest 3D computer graphics studio. Polygon has done CG work for acclaimed anime like Innocence and The Sky Crawlers as well as high profile games like Onimusha 2 and Metroid: Other M, among many more projects.

Just as the potential of 3D computer graphics were being realized, Japan left the fray and focused on two-dimensional rendering. Its Western rivals pushed onward. Something must have happened. Turns out, something did.

The 1980s were a golden age for Japan. The economy's sky-high ascent continued, and the world was its for the taking. It wasn't only business that was booming, but anime, too. According to Shiota, hits like Starblazers and Mobile Suit Gundam welcomed "newer" and "cooler" forms of expression that painted with big brushes on large canvases. This was the future. It was finally here.

It was during this era that CG rendering was starting to come into its own, with the Japan Computer Graphics Laboratory, among others, rivaling the CG work of their American colleagues. It was also during this time—1983—that Polygon Pictures was founded.

"The euphoria didn't last much beyond the decade as CGI was very much more expensive than its 2D counterpart, and unlike the US, Japan didn't have a robust enough film industry to support its growth as an expression," explained Shiota. "Animation in most cases was shown on TV which didn't provide enough money to render in CGI."

Full article http://kotaku.com/5888854/saluting-japans-computer-graphics-pioneers



-H "The first 45 minutes of the original Ghostbusters is some of the funniest stuff ever made. The second one was disappointing because the special-effects guys took over." -Bill Murray

Worth a mention - 02/27/12

'Hugo' Beats Out 'Harry Potter' For Visual Effects Oscar

(mtv.com) The broken-down robot at the center of "Hugo" beat out two groups of much more advanced robots, a bunch of rebellious apes and the magical moments in the final installment of "Harry Potter" at the Oscars. The visual-effects team behind filmmaker Martin Scorsese's first-ever children's movie, the 3-D period adventure "Hugo," won the Oscar at the 84th annual Academy Awards.

Rob Legato, Joss Williams, Ben Grossmann and Alex Hennig took the stage to accept, quipping, "I know it's a huge thrill to be nominated. But it's awesome to win and really underrated." "Hugo" earned the most nominations of any 2011 film and had already racked up five Oscar wins Sunday by the time the film crushed the competition in the Visual Effects category.

"3-D is now an art form, not a gag that is thrown in at the end," Legato recently told the Asbury Park Press. "Every shot is planned and composed and lit to take advantage of the depth that it gives you."

"Potter" fans had hoped "Harry Potter and the Deathly Hallows, Part 2" might enjoy some "Lord of the Rings"-type vindication at the Oscars but were disappointed when it failed to land nominations for Best Picture or Best Supporting Actor for the great Alan Rickman. MTV News' Talk Nerdy team were among those hoping the last "Potter" flick would at least dominate the Visual Effects category, but it was not to be. (Of course, as Oscars host Billy Crystal pointed out, the franchise has made $7.7 billion worldwide.)

"Transformers: Dark of the Moon," the third entry in Michael Bay's series based on the classic '80s toys, was similarly defeated. "Real Steel" featured robots as well — boxing robots (and Hugh Jackman!) at that — but was also shut out. "Rise of the Planet of the Apes" featured motion-capture work from Andy Serkis, whose "Apes" co-star (and last year's Oscar co-host) James Franco openly campaigned to see him rewarded in an acting category this year.

"Hugo," based on the novel "The Invention of Hugo Cabret," is the story of an orphan who lives at a train station in post-World War I Paris and unwittingly encounters one of the pioneers of silent film, played by Ben Kingsley. Sasha Baron Cohen co-starred.




'Star Wars: Phantom Menace' Crosses $1 Billion Mark at Box Office

(hollywoodreporter.com) It's the first individual Star Wars title to join the $1 billion club.

Since opening worldwide less than two weeks ago, Phantom Menace has earned $73.4 million, pushing its cume to $1,000.4 billion through Wednesday.

PHOTOS: 10 Billion Dollar Babies: Movies That Have Crossed the 10-Figure Mark

And it's only $1.5 million from matching and then overtaking The Dark Knight ($1,001.9 million) to become the 10th-highest-grossing film of all time, not accounting for inflation.

The Phantom Menace rerelease has earned $35.8 million domestically and $37.6 million internationally. It is the 11th film to earn $1 billion or more globally.

Fox also is celebrating an Alvin and the Chipmunks milestone: The third entry in the series, Alvin and the Chipmunks: Chipwrecked, has grossed $200 million in Latin America, a franchise best. The threequel has grossed $326.4 million worldwide.




DreamWorks Poised to Overtake Pixar

(jhunewsletter.com) When we talk about animated movies, the first name off our lips is Pixar.

Pixar this, Pixar that, coming out with a powerful animated movie generally once a year for the past 15 years, give or take.

In fact, since the awards' inception in 2001, Pixar has been nominated for eight Academy Awards and has won six for Best Animated Film (Finding Nemo in 2003, The Incredibles in 2004, Ratatouille in 2007, WALL-E in 2008, Up in 2009 and Toy Story 3 in 2010).

But, lo and behold, we have a year where the nominees don't have to contend with the Pixar incumbent (Cars 2, their 2011 film, hit "average" right on the buzzer.)

And so, for the first time since 2005, all those distant seconds and thirds have to fight it out for the coveted Oscar.

And here's the thing, in Pixar's huge, domineering shadow, the other animated production companies are less well known.

There's DreamWorks, famous for Shrek (2001), but nowadays making headway with popular films like Kung Fu Panda (2008), How to Train Your Dragon (2010) and Madagascar (2005).

Blue Sky Studios hit it big with Ice Age back in 2002, but can really only claim Rio (2011) and Robots (2005) as their other properties.

Disney came out of their decade-long slump with Tangled in 2010, and a hodgepodge of bigger film studios such as Warner Bros, 20th Century Fox, etc. produce animated works every once in a while when they really like the project.

But now that we're actually taking the time to look, Pixar doesn't seem so great and daunting.

In fact, maybe Pixar is just the best among greats, rather than the stand-out we all seem to think it is.

Lately, Disney hasn't made as much of an impact on the animated scene.

Their heyday in the early ‘90s has since been supplanted by Pixar's rise to fame and power and other studios (namely DreamWorks) that proved they could make just as defining movies. And since they acquired Pixar as a company, they've certainly been under less pressure to pitch out childhood defining films.

But, at least in their most recent years, they have.

Bolt (2008), Tangled and even The Princess and the Frog (2009) all received better reviews from critics and saw a better turnout than films like Brother Bear (2003) or Home on the Range (2004).

Their two upcoming films Wreck-It Ralph and Frozen have taken on tremendous manpower and fame in order to up their ante again.

But still, Disney exists firmly in the distant third category when it comes to animation studios.

And then there's Blue Sky Studios. Hitting it big in 2002 with Ice Age, Blue Sky has stuck to a tried and true bi-annual schedule, releasing movies every two years like clockwork. But it seems like they've been hit with the sequelitis like no other.

This summer marks the fourth Ice Age feature, while all their other franchises (of which there are three) remain untapped, despite the critical and financial success therein.

Whether we'll see a Robots 2, another animated Seuss or another attempt at Rio, is up in the air, while lower and lower quality Ice Age movies keep coming out in the end.

But now that Pixar has taken the year off, we begin to see the true underdog: DreamWorks.

Formed around the same time and debuting their first movie (Antz in 1998) alongside Pixar's own bug-themed tale (A Bug's Life, also in 1998), Dreamworks has actually produced more movies, especially early in its inception.

While Pixar had a total of four films under its belt by 2003, DreamWorks had seven.

In fact, DreamWorks is the only reason I'm writing this article.

Chicken Run, their 2000 prison break movie, was so popular and acclaimed that it received a nomination for Best Picture, the first animated film to do so.

The next year, the Academy rolled out the Best Animated Feature as its new category.

Since then, DreamWorks has won two (Wallace and Gromit: Curse of the Wererabbit (2005) and Shrek) while getting another seven nominated.

And now that they have new franchises to follow the studio-founding Shrek films, DreamWorks is poised to actually take a big chunk out of Pixar's fame, especially since Pixar gave them this year.

Ask anyone. What animated films dominated this year? There were three: Kung Fu Panda 2, Puss in Boots and Rango, all nominated for Best Animated Feature and all critical darlings. Two of these are DreamWorks and both of them are sequels (Puss in Boots technically being a spin-off.)

In the end, DreamWorks may come out ahead in the next decade.

Toy Story 3 marked the end of Pixar's first and favorite franchise, and Cars 2 demonstrated a certain inability to handle a sequel. And with their switch into a franchise base (having announced Monsters University as their 2013 film), they may be on the way down from their incredible 10-year high.




'Rango,' First Chameleon in History to Win an Oscar

(canada.com) HOLLYWOOD - After four years of Pixar movies winning at the Oscars, Paramount’s Johnny Depp-voiced "Rango" took the top animated film prize at the Academy Awards on Sunday.

The colorful chameleon beat rivals including "Kung Fu Panda 2," "Puss in Boots" and two foreign bids — France’s "A Cat in Paris" and Spain’s "Chico & Rita."

The Academy’s choice of a swivel-eyed reptile could be said to be brave, given his lack of the usual child- and merchandise- friendly qualities associated with blockbuster animated movies — pandas, cats or toys.

The movie’s quirky tone and offbeat humor are striking.

"Tone is everything. I love films with that singularity of voice," said Gore Verbinski, director of "Rango" and of the first three "Pirates of the Caribbean" films starring Depp.

"We tried to make a movie that made us happy and luckily we found an audience... I think if you work the other way around, ideas become diluted," he told AFP.

"Rango" tells the story of a lonely chameleon who is used to making up stories — playing out scenes with a fellow cast of inanimate objects — and who finds himself stuck in the middle of the desert after a road accident.

He ends up in the parched village of Dirt, whose inhabitants ask him to become their sheriff — after a tour-de-force made-up bar-room scene in which he invents his own back story and name — to help them find water.

For Verbinski, who had never made an animated film before "Rango," the biggest difference between live action and animation is that the latter lacks the spontaneous input of actors.

"There are no gifts in animation. Every blink, twitch and compression of the eye is a result of weeks of discussion.

"You have complete control on the one hand and the burden of that on the other. In live action, you never quite control the chaos, but there can be happy accidents along the way," he said.

To help the sense of authenticity, Verbinski recorded most of the voices — Depp’s vocal co-stars include Britain’s Bill Nighy, "Little Miss Sunshine" actress Abigail Breslin, and London-born actor Alfred Molina — in the presence of the whole cast.

"One of my biggest fears was having the film become clinical or sterile somehow," he said.

"The computer lends itself to perfection so easily. Having all the actors in one room was essential because it was one of the only opportunities in the entire process to react intuitively as things occurred."

For example they "could not have done the bar scene with one person and a microphone," he said.

"Rango" had been both a critical and commercial success, even before its Oscar triumph.

The movie has 88 percent of positive scores on the respected movie ranking website Rottentomatoes.com, and made more than $240 million at the box office globally, including $123 million in North America alone.




VFX Artists Petition US President & VES

(vfxsoldier.wordpress.com) This week VFX Artist Joe Harkins started a petition to the US President and Visual Effects Society to end illegal subsidies:

You agree that we need to create an organization that will lobby political action to enforce the WTO guidelines. Specifically the free trade agreements against foreign subsidies. You also agree that our elected officials need to do something about WTO violations that hurt our industry.

Since day one of my blog I have railed against subsidies and I support this petition. As you can see in the above video, the current President is interested in combating these subsidies. We need to let him hear our voice. One way to do this is by having you, your family, your relatives, your friends, and your co-workers sign Mr Harkins’ petition.

You can sign it here:

http://tinyurl.com/vfxpetition

So What Is This All About?

The narrative in the trades is that VFX is going to cheap locations like India and China. That actually isn’t what’s happening. It’s going to expensive places like Vancouver, London, New Zealand, Sydney, and Singapore. Some of these places are the most expensive places to live in the world.

The reason VFX jobs are going to these regions are mostly for one reason: Subsidies.

Governments are essentially engaging in protectionism by paying US studios like Warner Bros, Paramount, Universal, Fox, and Sony from 25-50% of the costs to lure VFX work from regions like California where the VFX industry has traditionally been agglomerated.

According to international trade law experts like Claire Wright, these subsidies are illegal:

The question addressed in this article is whether, under U.S. and WTO law, a foreign government can artificially lower the costs of production in an industry to such an extent that a number of U.S. companies choose to establish local production companies in that country and forego production in the U.S., thereby decimating the industry in the U.S.

There Are Rules To Globalization

International tariffs and subsidies are heavily regulated by the World Trade Organization. The US and many other countries entered into an agreement many years ago to liberalize trade barriers to encourage a more free market system. In order to do this, the parties agreed to get rid of policies that distort trade: tariffs and subsidies.

So How Do Subsidies Affect The VFX Industry?

There is nothing to stop a facility or producer from choosing to do work in a region because the labor is cheaper but there are rules that prevent a producer from choosing a region because a foreign government has offered money to do the work there. It artificializes the price and leads to a race to the bottom.

In the case of the VFX industry, facilities around the world competitively bid against each other to be awarded contract work by one of the big 5 studios. Even if California facilities could beat their competitors bids, studios would still be inclined to do the work in Vancouver, London, or another subsidized region because of the generous rebate offered by the local government. This is not about business taxes, this is a subsidy, a direct exchange of free money: corporate welfare.

So How Does This Affect The Facilities We Work For?

Most people make the mistake to think that the facility they work for gets this money. As some facility owners revealed in a post I wrote, they don’t. They are coerced into opening facilities in these subsidized regions just so they can get the work. They still must provide a competitive bid and they must also take upon the burden of extra overhead costs in infrastructure, management, and personal relocation to maintain 2 facilities. The studio gets the same film for the same price with an extra amount of money from the government.

So How Does This Affect The VFX Workers?

For the worker the ramifications can be very sobering. Consider one of my recent posts about how expensive it is. Read the comments and you will find people who have to chase VFX jobs around the world working project to project.

The costs of moving are tremendous. You will have to pay foreign taxes, state taxes, and federal taxes. If you own a home you will have to rent in your new region and take upon the burden of paying a mortgage at the same time. Some regions are so expensive that VFX workers are renting rooms from local families to avoid the costs. Many of them are not able to own any tangible items as they are constantly moving and living out of a suitcase. Some of them must leave their families for long periods of time and must pay huge traveling costs to visit them for short breaks in between projects. Regions like Canada, and London have weak overtime laws allowing you to miss out on overtime pay.

So How Does This Affect VFX Workers At The Studios?

If you think that you are immune to this because you work directly for the studio at places like Pixar, Disney, and Dreamworks think again. As the VFX facilities are weakened this will provide less leverage for those workers to negotiate better wages. As there are less opportunities for you to jump to another facility in the region, managers will have more opportunities to lower your wage.

In other words, VFX workers and facilities are working harder to chase the work, paying more to get the work, getting paid less to do the work, and their standard of living is going down. All of this is so rich US conglomerates can take advantage of what essentially is a bribe.

If you want to put a stop to this then you must start now. Sign the petition and unite for this cause.




'John Carter': Disney Scrambles to Save its $250 Million Gamble

(hollywoodreporter.com) When the tracking numbers for John Carter became public Feb. 16, it confirmed what many already knew: Interest in the big-budget sci-fi movie was soft just three weeks from its opening. With the clock ticking on the March 9 launch, Disney is now acting with renewed urgency to save the film from causing a big writedown.

"We're treating this like a global tentpole," says a studio spokesperson. "This is a huge movie. Everyone's focus right now is merely on getting as many people to see the movie as possible."

The challenge is due not only to its cosmic budget -- Disney and writer-director Andrew Stanton insist that the film came in at $250 million, but sources peg the number at above $275 million -- but also to its century-old source material, unfamiliar to many moviegoers. High-profile TV spots during the Super Bowl and the Grammys prompted online derision rather than excitement, drawing comparisons (not in a good way) to Star Wars: Episode I -- The Phantom Menace, while an indistinct billboard campaign has left some unclear that the film is an Avatar-like 3D epic.

"They are doing an extraordinary job of not selling what they think it is," snipes a rival studio marketing head.

Observers also have taken aim at the studio's decision to drop "of Mars" from the title, arguing that the property loses definition and scope without it. Insiders say the title change was hotly debated a year ago when the word "Mars" was verboten in the wake of Disney's March 2011 bomb Mars Needs Moms. According to several sources, the studio conducted a study of how the word would play with potential audiences. The results were pointed enough -- Disney's 2000 sci-fi film Mission to Mars and Warner Bros.' 1996 sci-fi comedy Mars Attacks! weren't hits, either -- that the studio stripped out mention of the red planet. ("It was the most ridiculous thing I've ever heard," says one person who was privy to the research.)

"You lose any kind of scope the movie has," says another insider of the generic title. "John Carter of Mars gave the movie context."

At the same time, the trailer campaign has showcased the film's Mars setting rather than risk turning people off with shots of star Taylor Kitsch in Civil War-era garb (he's a soldier transported to a battle on Mars). Critics say the fear of Carter being labeled a period film also has muddied the property's core identity and sacrificed an opportunity to explain its narrative arc that could have hooked fans.

Ousted Disney marketing president MT Carney has taken blame for suggesting the title change and driving the ad campaign, but insiders point out that the creative team -- Stanton and his Pixar producers -- had to sign off on everything. Stanton, hot off the mega-grossing Finding Nemo and WALL-E, was given license to adapt the Edgar Rice Burroughs novels by former Disney chairman Dick Cook, who a source says greenlighted it without the studio's production team having read the script. (Another source disputes that account.)

Former Participant Media production executive Ricky Strauss, hired Jan. 13 as head of worldwide marketing, has been working with his team to change perceptions. The studio is spending north of $100 million on a worldwide campaign, typical for a major tentpole. No outside consultants have been brought in, and much of the remaining campaign will roll out as planned. Carter's Los Angeles premiere Feb. 22 will be followed by an international premiere in Moscow and a junket with cast and crew in London, where a portion of the movie was shot. Meanwhile, stars Kitsch and Lynn Collins will work the late-night talk show circuit, and Stanton will appear at the TED conference Feb. 28.

Additionally, the marketing team is pushing out a new TV campaign loaded with storyline-heavy spots. The ads will strive to better explain how Carter makes his way to Mars and discovers superhuman powers when he joins the fight to save a Martian princess. At the same time, the studio has seen an uptick in the film's attractiveness to men in the most recent tracking data. An action-heavy trailer will go out in front of Act of Valor on Feb. 24.

But critics point to what Disney is not doing: While some merchandise is available, there is no plan for a large toy line that might help lodge a fantasy adventure in young consumers' minds. "It needs to feel like an event, and right now it doesn't feel like an event," says one marketing expert, who notes that tentpole franchise launches typically establish a much bigger presence long before this point in the release (see: Disney's own Tron: Legacy rollout).

Meanwhile, Stanton has become a much more public advocate for the movie, vigorously tweeting messages and rebuttals to fans and using a recent media junket to deny that he went over budget or added days during production. In the end, it might be his talent and force of will that keep audiences on John Carter's side.

Notes one rival marketing chief, "This is the guy who made a movie about a fish and turned it into a hit."

5 Reasons to be Excited About John Carter: http://www.forbes.com/sites/erikkain/2012/02/26/five-reasons-you-should-be-excited-about-disneys-john-carter/




Is Hugo A Win For 'Best VFX ART' ?

(/ibnlive.in.com) New Delhi: Martin Scorsese's 'Hugo' gave all other films a run for their money when it bagged five Oscars. Though it did not score above the other competitors for 'Best Picture' - it bagged the 'Best Visual Effects'. The men behind that achievement were Rob Legato, Joss Williams (absent), Ben Grossman and Alex Henning.

Here's the backstage interview with the winners -

Q. I have a question about the locomotive accident scene. I was, uhm, I read somewhere that that was actually good old handmade, uhm, visual effect and not using the graphics of computer graphics. Could you please tell me why you chose that route.

A. [Legato] We actually had a combination of the two. The last drawing was specifically designed for a physical model to crash through to imitate the Montparnasse famous black and white shot, and we added two more shots that were real traditional models and the rest of them were computer graphic models that were modeled to be able to be seen side by side with the real one and be, you know, indistinguishable from the two. [inaudible]
Scorsese's 'Hugo' won the Oscars for Best Visual Effects.
Oscars: Backstage interview for Best Visual Effects - 'Hugo'

A. [Grossmann] The reality is the question was: Why did we choose to use a model a modern day miniature instead of the newer modern technology digital. We used digital where it was appropriate and we used a model where it was appropriate too. And models and miniatures are classic techniques. Aside from being an homage to the subject of the movie, Georges Melies and his techniques, there's still the better solution you get when something looks real, and when you can do that, you should. And we did.

Q. Hi congratulations. In the category that was filled with a lot of really great computer animation and the flight motion capture excuse me how does it feel for you guys to have this tribute to Georges Melies to have used some of his actual techniques and to have won an Oscar for a blend of practical and computerized visual effects?

A. It was a particular thrill for us because a lot of what we did is very subtle things to be basically the same level of the art form of the other categories photography, and art direction, and all that it encompasses within a visual effects into the celebrating the life of those early pioneers. We chose on every occasion we could to use techniques that might have been used by Georges Melies himself, and some to great effect, and the subtle blends of all those things and what we were trying to achieve with a, hopefully, a degree of art that we would want to evaluate our portion of the program. So, that kind of is our drive and we are very proud of the fact that we got recognized for the art of it as much as the technology of it.

Q. Congratulations everybody.

A. Thank you.

Q. You won for visual effects and the marriage of visual effects and stereo. Talk about that marriage, and how this movie has helped to change that.

A. [Legato] I will start. I'll give it over to Ben. What we are trying to do with the 3D of the movie itself is to basically extend the art form of cinema by using the depth that you get and every shot was designed to take advantage of the depth that we would enhance the model of the story. So, every shot was literally made to be in 3D and designed to give you some depth or emotional response from it. Then the hard part is what these gentlemen had to do which is to actually perfect the 3D in a very complicated way, but I'll turn it over to them and they can explain.

A. [Grossmann] I don't think it needs to be explained too much better. Really, we had fun with it. And there's a lot of science behind it, but we try to take the science and distill it down to something that is so simple that it doesn't interfere with your instinctive creativity so you can hear Marty or Dante or Bob, and say what they feel the shot should emote. And then have the technology and the skills down to a simple direction, so that we can move in that direction effortlessly, I think, without encumbering ourselves with 10 pages of science and research; although, it's all still there. Alex can probably explain some of that.

A. [Legato] Alex will say something.

A. [Henning] Well, like they said, I think it's just about keeping it to be a story telling device. More than anything else and not just doing for the sake of doing it. I think that's what Marty really set out to do, and what his whole crew was after and by extension, us. And, uhm, evidently, it kind of worked, because here we are.

A. [Legato] And it's very complex, these guys are underselling to make it appear to be seamless.

A. [Henning] I was looking up Euclidian formulas quite often, and that's not a joke.

Q. So, you are up against these gigantic visual effects extravaganzas like TRANSFORMERS and even APES. And you guys won. I'm just wondering what you think this means about the state of visual effects and the appreciation of visual effects at least by the Academy?

A. My feeling is, and it's sort of when we finished the movie and how the movie was and the fact we are up against these incredibly technologically, beautifully done films that the blending of the art forms which is, in fact, what I believe cinema to be, which is the combination of all the music, sound effects, lighting, costumes, is all of that. There's a perfect blend and ours does not stick out but assists that and becomes part of the art form that the Academy sort of growing up with the visual effects world, and saying, we are now going to also appreciate the art of what you tried to achieve, what's literally on screen. Which is worthy of being onscreen. So, for us, you know, because there's other films that are fantastic and work is outrageous. They deserve to win just as much as we do, and if I were to put words in the mouth of the Academy, I would say that they judge them on the merits of art just as much as they do on technology produced.

A. [Grossmann] Those films are really amazing. All the other nominees in our category were stunning films that we would never expect to even be up against or stand a chance to compete against.

A. [Legato] We are kind of surprised to be up here.

A. [Henning] Yeah, it's a terrific honor.

Q. Being involved in special effects, can you talk about that participation and how that came about.

A. [Henning] That is an odd question.

A. [Grossmann] I got nominated. Yeah. I picked someone that was the backbone of what we had to do for the majority of visual effects here, and the structure that they had sort of around the world that allowed us to move quickly with more artists working in their hometowns which is something I've only come to appreciate just now is that we don't take people from the countries they are from and put them in Los Angeles. We allow them to sort of try and stay in their home countries and then use them as an artistic resource and network around the world, which was done with this German company, who put together a team of nearly 400 plus artists. Not to belittle any of the vendors, because the vendors the other vendors that were not picked also did some fantastic work on the show. So, I think really, it was just being able to take so many people and make them a community of artists that could work on this movie was really, really amazing.

A. [Legato] In particular, I have to say that every time we came up with a difficult shot, not to belittle any of the other people, I always said, "Give it to the Germans," because they really nailed it. And I think I've said that many times.

A. [Grossmann] It does happen, even when it wasn't the Germans we gave it to.

A. [Henning] Sometimes it's just guys with German last names.

Q. Thank you very much and congratulations.



Weta Misses Out On Oscar

(news.ninemsn.com.au - stuff.co.nz) New Zealand's Weta Workshop has missed out on claiming another Oscar.

Weta Digital's visual effects team of Daniel Barrett, R Christopher White, Joe Letteri and Dan Lemmon had been nominated for Rise of the Planet of the Apes. But the Academy Award went to Hugo shortly before 4pm, New Zealand time, today.

The entire Weta Digital team is in Los Angeles for the awards ceremony.

The 84th annual Academy Awards started in Los Angeles at 1pm New Zealand time.

As McKenzie hit the red carpet in Los Angeles members of his family still in Wellington were watching the Oscars live from Miramar.

Brothers Justin, 39, and Jonny, 27, and other family members are watching the ceremony on the big screen at the Roxy Cinema.

McKenzie's father spoke to his son on the phone before today's ceremony.

''It's a full on day,'' Peter McKenzie said.


''Everybody is highly excited," Peter McKenzie said.

Meanwhile, a separate Weta crew party is happening this afternoon at Foxglove on Queens Wharf in central Wellington.




The Official Channel of Industrial Light & Magic

VIDEO - Take a look: http://www.motiongraphicsspain.com/industrial-light-magic/




The Oscars’ Performance-Capture Problem

(wired.com) Is it live or is it Memorex? Caesar is a digitally created chimp, based on a motion-capture performance by Andy Serkis, that appears with James Franco in Rise of the Planet of the Apes. Image: Weta Digital/20th Century Fox

When you see Sunday’s Oscars telecast, note two glaring omissions.

One: The Adventures of Tintin was not nominated in the Best Animated Feature category.

Two: How did Andy Serkis not nab a Best Actor nomination for his performance as the super-intelligent chimp Caesar in Rise of the Planet of the Apes?

In a word (or two): performance capture, also called motion capture.

Ever since the Lord of the Rings films, it seems the Academy of Motion Picture Arts and Sciences doesn’t quite know what to do with this technology, which translates an actor’s movements into the digital realm. Is it animation? Special effects? Trickery? Do performances have to be “live” to qualify as acting? And what exactly defines animation?

Adding to this controversy — and causing trouble for the Academy — is this inconvenient truth of how actors work today. Actors are appearing as digitized selves not only in TV and movies, but they are “acting” as videogame characters (either by providing voice work or having their body movements captured). Should voice work for a cartoon or videogame be Oscar-worthy? Does the Academy need to consider videogames as a subset of film? Or, perhaps, consider them a kind of TV? Other award-bestowing groups like the Screen Actors Guild and Golden Globes look at television performances. Why not have a category called “motion capture,” too?

Andy Serkis plays Captain Haddock, and Tintin is played by Jamie Bell, in The Adventures of Tintin.
Image: Weta Digital/Paramount Pictures

At least the Golden Globes did give Tintin an award for best animated film. Meanwhile, the Academy won’t, and not because the film didn’t qualify for the Best Animated Feature category. Oscars rules state that to qualify, “a significant number of the major characters must be animated, and animation must figure in no less than 75 percent of the picture’s running time.” Three motion-capture movies were OK’d — Tintin, Mars Needs Moms and Happy Feet Two — as well the live action/animation hybrid Alvin and the Chipmunks: Chipwrecked. (The other hybrid, The Smurfs, was disqualified, but no great loss there.)

Looking at Tintin, clearly it’s as good as if not a superior film to the cartoons that were nominated: Kung Fu Panda 2, Puss in Boots, Rango, A Cat in Paris and Chico & Rita. So why did the Academy snub the Peter Jackson/Steven Spielberg juggernaut? I’d argue that most voters in the animation category probably find something intrinsically fake or cheap about motion-capture-generated cartoons, that they’re a shortcut compared to old-school, animate-each-frame-of-movement cartoons.

It’s an ironic shift in perception, because only a decade or two ago, traditionalists protested against the wave of digital animation Pixar was pushing as not being “true” animation, compared to old-fashioned, drawn “cel” animation. Now what defines animation clearly encompasses digital 3-D cartoons. Animation enhanced by motion capture gets no respect.

Now, on to Rise of the Planet of the Apes. Andy Serkis faced the same respect problem when he played Gollum in the Lord of the Rings films. (Serkis also played Tintin‘s Captain Haddock, but that performance was less noteworthy.) Everyone agreed his performance as Gollum was mesmerizing, but the Academy turned up its nose. Now, as Caesar the chimp, he’s as much an actor as James Franco, or even a better one. We don’t end up caring about Franco’s scientist Will Rodman. We care about Caesar. As Caesar, Serkis carries the film. To my mind, it doesn’t matter if we see part or all of Serkis’ “real” face or body, or if that performance isn’t “pure.” What matters is the performance.

Clearly, performance capture is redefining what is acting, just like, historically, other technologies have challenged our notion of acting and performance. Think how special makeup made the Tin Man “tin” in The Wizard of Oz. Or how prosthetics in The Elephant Man, The Mask or Mask enhanced performances. Or puppetry (Yoda) or costumes (Darth Vader or C-3PO). Here’s another example: As the serial killer Hannibal Lecter in The Silence of the Lambs, Anthony Hopkins won a 1991 Best Actor Academy Award. It was a role he largely played behind glass, and behind a mask. Isn’t that much like playing behind the “mask” of digital enhancement?

Digital performances are simply another step in film’s ongoing evolution. No need to panic, Academy. They deserve to be recognized. If it makes an Oscar more palatable, give them their own category: “Best Performance-Capture Performance by an Actor in a Leading Role.”

The only question is, when the Oscar is someday awarded for a motion-capture performance — and some day, it will be — does the actor accept the award solo? Or, accompanying him or her onstage, should there also be the team of animators, artists and technicians who made the entire performance possible?

Luckily, the Academy has time to revise its rules and get a second chance: Serkis will be reprising his role as Caesar in a Rise of the Planet of the Apes sequel.

Also see: How the Academy’s animation rules fight the progress of the art form - http://www.avclub.com/articles/soft-cels-how-the-academys-animation-rules-fight-t,69793/




Bringing Cloud Power to Hollywood Digital Effects

(datacenterknowledge.com) Hollywood digital effects specialist Digital Domain is using storage gear from Avere Systems to harness distributed computing nodes in a cloud rendering system.

Avere announced today that Digital Domain has implemented its FXT Series NAS appliances at a data center in Las Vegas to maximize IOPS (input/output operations per second) and minimize latency of its cloud-based infrastructure to ensure quick access to massive amounts of computer-generated imagery data.

Digital Domain is a visual effects and animation company that has delivered innovative visuals for more than 80 movies — including Titanic, Apollo 13, the Transformers trilogy and TRON: Legacy. When creating effects for movies the company uses rendering nodes in a Las Vegas colocation center that are accessed from Digital Domain servers in Los Angeles, San Francisco, and Vancouver to convert into media frames. The company leverages Avere FXT products to reduce latency introduced by accessing data across such geographical distances.

“We couldn’t do this without Avere in the picture,” said Mike Thompson, Sr. Systems Engineer of Digital Domain. “The WAN latency would have killed the applications’ IOPS to the filers. We simply wouldn’t have been able to render frames remotely. In order to grow, we would have been forced to increase our data center footprint in cities with much higher costs for space and power.”

Avere’s FXT Series of appliances feature a tiered file system that organizes data across RAM, Flash, SAS and SATA tiers to effectively provide a 5:1 reduction in disks, power and rack space. The new FXT 3000 and FXT 4000 series hardware platforms are designed for even greater scalability and efficiency, doubling the amount of appliances that can be clustered to 50 and providing as much as 7 TB of RAM and hundreds of terabytes of SAS or SSD capacity on a single cluster.

“Colocation data center facilities can be enormously beneficial in helping companies such as Digital Domain leverage cloud computing and lower costs; however, without the ability to minimize the latency introduced by geography, the performance degradationis so great that it can’t be offset by cost reduction,” said Ron Bianchini, Avere President and CEO. “Colocating Avere appliances with compute nodes removes the latency penalty and opens up a new world of possibilities for companies seeking to build highly efficient global storage infrastructures without sacrificing application performance.”





‘Star Trek 2′ is Being Partially Shot in the IMAX Format

(screenrant.com) Just before the 2011 winter holiday break got fully underway, J.J. Abrams revealed that he had been giving serious consideration to shooting parts of his Star Trek sequel in the IMAX format. The sci-fi film’s casting thereafter dominated headlines during the buildup to the start of production in early 2012, leaving question about the movie’s technical attributes without a surefire answer (officially speaking).

While the recent spate of Star Trek 2 set photos has primarily re-ignited discussions about the identity of actor Benedict Cumberbatch’s villainous onscreen counterpart in Abrams’ movie, one of the set pics also confirmed that the new Trek installment is indeed being filmed in part via the use of IMAX cameras.

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For the definitive proof (tip of the hat to /Film for catching this) check out what’s right next to Cumberbatch’s right arm in the Star Trek 2 set pic below:

star trek sequel set photo stunt double benedict cumberbatchCLICK FOR LARGER VERSION

Here’s where things get even more interesting: since Star Trek 2 is going to be post-converted into 3D – rather than shot natively in the stereoscopic format – which suggests that fans could get to see the Trek sequel in regular 2D IMAX rather than IMAX 3D in theaters. In fact, the film might not even be released in IMAX 3D at all, given how tricky it will undoubtedly be to convert the portions of Star Trek 2 originally shot for true 65mm IMAX presentation into three dimensions (with excellent results, that is).

This also puts Star Trek 2 in a curious position as the movie is going to be a far more CGI heavy project than previously-released tentpole titles which were partly shot in the IMAX format (see: The Dark Knight, Mission: Impossible – Ghost Protocol). Movies that mix live-action material with large amounts of CGI are known for suffering after they’ve been blown up to IMAX size, as the higher resolution and frame rate calls extra attention to the weaknesses in the digital effects. That could also ring true for the non-native IMAX portions of Star Trek 2.

Bryan Singer's Star Trek: Federation TV series

How do you prefer the crew of the Enterprise? In IMAX or 3D?

Cinephiles are already going to be hard-pressed to provide a tentative answer to the “IMAX or 3D?” issue which will be very much put to the test in 2012, thanks to highly-anticipated upcoming titles like The Dark Knight Rises and Prometheus promising to utilize the different technologies for a more effective viewing experience.

Star Trek 2 should only add more fuel to that ongoing debate, as it seems moviegoers could be able to view the sci-fi sequel in both 2D IMAX and regular 3D, so as to better compare and contrast how the formats affect the same film, and thus determine which one really does enrich the viewing process by offering a more immersive experience.

Look for Star Trek 2 to soar into theaters around the U.S. on May 17th, 2013.




The Rise And Fall Of Practical Effects In Cinema

(attackthefilm.com) This summer you are probably going to go to the movies to see some huge blockbuster movie packed with lots of explosions, flying robots, maybe a few CGI space ships and probably a monster or two. Unfortunately, all of these explosions, robots, space ships, and monsters – are completely fake.

You moron! Of course they are fake, it’s a movie! Yes yes… What I mean is that the effects are fake.
See, back in “the old days” we actually blew things up with real explosives, built robots, hired make-up artists, and made models of space ships that were bigger than you are. What we are missing from cinema today is a “how did they do that?” factor.

Think about it. Say you go to see the latest sci-fi film “Prometheus” this summer and there is a shot of a space craft flying through space. Are you going to just let it fly by and not let it affect you, or are you going to sit there for a minute trying to imagine how they did that? The answer is you are going to let it fly by and not phase you at all, not only because it’s been done before. But because it will have been done by computer animation. If you grew up during the 1950s through the 1990s, you will remember watching movies like Forbidden Planet, 2001: A Space Odyssey, Godzilla, Star Trek: The Motion Picture, Alien, Blade Runner, Terminator, Apollo 13, Total Recall, Independence Day, and of course Star Wars, just to name a few. These movies are mentioned because most of the effects in these movies were actually filmed, they were not fabricated in a computer.

Remember that shot where the White House is blown up in Independence Day? Of course you do, it was awesome. It was also a model. They built a model of the White House, and then blew it up using real explosives. Win.

Space craft like the Star Destroyer, X-Wing, and Millennium Falcon from Star Wars were all models, and were actually filmed by real cameras and then combined with a star field background using film techniques and optical printers. The Discovery One space craft from 2001, the USS. Enterprise, the Nostromo, and all the flying cars in Blade Runner were done the same way.

You could really appreciate these effects when you saw them because you knew that these things were real, and you had no idea how they did it. Sure it was a model, but why did it shine like that, and why does it look so big? Even today when I watch one of these older films I respect the talent and time required to construct these awesome models, set up miles of explosives, and film these things in one take.

When I watch the Star Wars prequels, or the new Star Trek movie, or even special effects wonder Avatar. I understand that days of work went into making these amazing CGI models, animating them, and adding a bunch of lens flares to make it look more realistic. But I know they are fake, and I know exactly how it was done. Because of this I respect them less than if I saw a 6 foot model flying in front of me.

Unfortunately, it seems as though we may never again see space ships made from plastic models. Real explosions, practical effects like fake blood, squibs, miniature cities and people in rubber suits are becoming less and less used, with Hollywood opting for the cheaper and safer CGI alternative. One day we won’t even have actors, just CGI replicas.




Classic Quickie: The Special Effects of Darby O’Gill and the Little People

Motionographer Classic Quickie: Peter Ellenshaw’s special effects in Disney’s Darby O’Gill and the Little People (1959)

VIDEO - Take a look:

Part 1: Matte Paintings - http://www.youtube.com/watch?v=OMW0j-Ywflk&feature=player_embedded

Part 2: Forced Perspective - http://www.youtube.com/watch?v=iYQofxCTyuA&feature=player_embedded




Tintin & Friends - A Video Tribute to Those Snubbed by the 2012 Academy Awards

Now that all the winners of the 84th Annual Academy Awards have been revealed, with Hugo and The Artist both coming away with a decent handful of Oscars, there will likely be some dwelling on who really deserved the golden statue, but didn't receive one other than the chocolate replicas from Wolfgang Puck. However, a recent video made by JoBlo has decided to focus on all the movies and talents who weren't even honored with a nomination with Snubbed 2012 - An Oscar Tribute. Made in the same style as the In Memoriam tribute video of those lost each year in cinema, this film remembers the non-nominees. Watch!

For me, one of the biggest and most glaring exclusions this year has been The Adventures of Tintin for Best Animated Film, and I'm pretty sure Billy Crystal even shouted something about it during the traditional movie mash-up introduction at the beginning of the ceremony. There's some questionable inclusions like Attack the Block for a couple awards, but others such as Tilda Swinton for Best Actress in We Need to Talk About Kevin, Michael Fassbender for Best Actor in Shame and more love for Warrior and The Girl with the Dragon Tattoo are right on the money. Plus, I like the tribute to Michael Giacchino for his Super 8 score, as a track from the film is the driving force of this video which really makes you feel sad that these films and talents weren't nominated for Oscars.


VIDEO - Take a look: http://www.firstshowing.net/2012/see-a-video-tribute-to-those-snubbed-by-the-2012-academy-awards/





-H "If the producter didn't put at least one VFX company out of business on a show, he's not doing his job". -VES Open Letter

Worth a mention - 02/24/12

VFX Oscar Predictions Spreadsheet

(goldderby.com) "Rise of the Planet of the Apes" won visual effects in a visual effects-driven feature motion picture at the 10th annual Visual Effects Society Awards. Seven of the nine winners of this prize went on to claim the Oscar for Best Visual Effects.

Two of its Oscars rival were in that race -- "Harry Potter and the Deathly Hallows: Part 2," and "Transformers: Dark of the Moon" -- while another, "Hugo," which the supporting visual effects award. The fifth Oscar contender -- "Real Steel" -- was snubbed by the VES.

The motion capture used in "Rise of the Planet of the Apes" is similar to the technique used in "King Kong" which won this Oscar race in 2005. Andy Serkis played a primate in both films and also appeared in digitally enhanced form in "The Lord of the Rings" trilogy. Joe Letteri won for two of those three films -- "The Two Towers" and "Return of the King" -- as well as "King Kong" and “Avatar." His co-nominees -- Daniel Barrett, Dan Lemmon and R. Christopher White -- are all first-timers. This is the only Oscar bid for this summer blockbuster. The last film to win its sole nomination in this race was "Death Becomes Her" in 1992.

"Hugo" is the only Best Picture nominee represented in this category which could give it the edge. Oscar cham Rob Legato ("Titanic") vies for the third time -- his other bid was for "Apollo 13" -- while Ben Grossmann, Alex Henning and Joss Williams are first-time nominees.

Two other films in the "Harry Potter" franchise -- "Prisoner of Azkaban" (2004) and "Deathly Hallows: Part 1" (2010) -- contended in this category. Oscar champs Tim Burke ("Gladiator") and John Richardson ("Aliens") were nominated for those films as well as this one. Greg Butler and Dave Vickery are first-time nominees.

"Transformers" (2007) was nominated for Best Visual Effects but didn't win while the first sequel -- "Revenge of the Fallen" (2009) -- was snubbed which is not a good sign for this third entry. John Frazier won one ("Spider-Man 2") of his previous nine bids while Scott Farrar has gone one ("Cocoon") for five. This is the second nominations for Scott Benza who was recognized for the first film in this franchise. Matthew Butler is an Oscar rookie.

Erik Nash, who contended for "I, Robot" picked up another bid for fashioning the men of steel featured in "Real Steel." Swen Gillberg, John Rosengrant and Ben Taylor are rookie nominees.

Take a look - odds spreadsheet: http://www.goldderby.com/events/445/oscars-2011/best-visual-effects.html




With "Akira" on Hold, Warner Bros. Turns to Live-Action "Bleach" Movie

(spinoff.comicbookresources.com) Undeterred by its difficulties with Akira, Warner Bros. has acquired the live-action film rights to Bleach, the bestselling action-fantasy manga by Tite Kubo, Variety reports. Wrath of the Titans screenwriter Dan Mazeau will pen the adaptation, with Get Smart‘s Peter Segal producing and possibly directing.

“I’ve always been a huge fan of Bleach and have great respect for its creator Kubo and the truly original and amazing world he has created in this manga,” Segal said.

Debuting in 2001, Bleach follows Ichigo Kurosaki, a teenager with the ability to see spirits who inadvertently absorbs the powers of a Soul Reaper — a personification of death similar to the Grim Reaper — and dedicates his life to protecting the innocent and guiding lost souls to the afterlife.

The manga’s 53 volumes to date have sold 75 million copies in Japan, and spawned a hit animated television series and four feature films. Warner Bros. has been trying to secure the rights to the property since at least March 2010.

Heroes alum Masi Oka, who brought Bleach to Segal’s Callahan Filmworks, will also produce along with Segal’s partner Michael Ewing and Viz Productions, a subsidiary of Viz Media, which publishes the manga in North America.




VFX Company Shows Young People Tech Career Opportunities

(womenintechnology.co.uk) A British visual effects company that has worked on films such as Harry Potter has taken time away from the computers to show young people the careers they could have in the technology sector.

Double Negative, which has won Bafta awards for its work, has taken part in BigAmbition, a project run by e-skills UK.

More than 50 technology employers have collaborated with BigAmbition so far. The website is aimed at young people and features interviews with IT professionals, company profiles, games and quizzes, in the hope that they can see the range of careers they could have in the technology sector.

"The visual effects industry needs all kinds of creative and technical talent. BigAmbition is a great way to show young people the variety of career opportunities there are," commented Vic Rodgers from Double Negative.

"Attracting the right people into the industry is key to our continued growth. It’s important to us to get young people interested in technology as early as possible, and to show them how varied and exciting the industry can be."

It is predicted that 500,000 people will be required to fill IT jobs in the next five years.

womenintechnology has a dedicated careers advice service for women, graduates and experienced professional looking for technology and IT jobs.



Kerry Conran's "John Carter of Mars" Demo Reel

For a look at what might have been, here is Kerry Conran's "John Carter of Mars" demo reel for Looking Glass Films and Paramount Pictures.

VIDEO - Take a look: http://www.youtube.com/watch?v=FdEas1NWusY&feature=youtube_gdata_player



Greek Mythological "Hercules" Sets Up at MGM

(darkhorizons.com) Dwayne Johnson is in talks to play the titular Greek mythological hero “Hercules” in a new film about his exploits setup at MGM and Spyglass Entertainment reports The New York Daily News.

An adaptation of Steve Moore's comic "Hercules: The Thracian Wars", the story follows Hercules years after he carried out his twelve tasks and has turned his back on the Gods.

Now he and six friends have become mercenaries who've been hired by the King of Thrace to train his men into becoming an army every bit as ruthless as they are. Ryan Condal wrote the script while Brett Ratner is set to direct.




James Cameron’s Avatar The Game: Walkthrough Video

(cinestarsite.info) As seen on avatarmoviegame.com Today, were throwing you into the Pandora rain forest, one of 16 different environments in the game, as a member of the Resources Development Administration, or RDA military.

VIDEO - Take a look: http://cinestarsite.info/james-camerons-avatar-the-game-walkthrough-video.htm



Visual Effects & Animation veteran Tony Hudson joins “The Eyes of Thailand” Team

(eyesofthailand.com) Tony Hudson is a veteran filmmaker and entertainer with more than two decades of experience in film visual effects and animation. Having spent most of his career working at such companies as Industrial Light and Magic, Walt Disney Feature Animation and Lucasfilm Animation, Tony now finds satisfaction with his home-based visual effects studio, Fxvet Studio, which specializes in production design and providing visual effects and title services for independent film producers looking for collaborative services at a reasonable price. Recent projects include the motion graphics for Jayebird Films’ “The Right to Love”, and title and effects work for Wandering/Cut Films’ “Things I Don’t Understand” and San Simeon Films’ “Into the Wild”.

Tony joins “The Eyes of Thailand” team as the Titles and Motion Graphics designer.

Welcome aboard, Tony!

Source: http://www.eyesofthailand.com/2012/02/19/visual-effects-animation-veteran-tony-hudson-joins-the-eyes-of-thailand-team/

Support “The Eyes of Thailand” Film: http://www.eyesofthailand.com/2012/02/01/action-alert-28-days-left-to-support-the-eyes-of-thailand-film/



2012 SJ Movie Awards: Best Creature Effects Artists

(screenjunkies.com) The moment of shock and awe come blasting to your mind when you remember cinematic moments like King Kong coming from the jungle, the brontosaurs grazing in "Jurassic Park", or poor John Hurt having his chest burst open in "Alien." These scenes have become fewer and fewer through out time as we settle for "Transformers"-esque fast paced special effects or cheap CGI. But here are three movies that don't fall into the modern day pitfalls of creature effects and give us some of the most memorable creature moments in recent cinema history. These are the Screen Junkies Awards winners for Best Creature Effects.



MASTERSFX to Collaborate with Twisted Twins Productions on American Mary

(btlnews.com) Hollywood-based MASTERSFX is partnering with Twisted Twins Productions to create the character designs and produce the prosthetic and makeup special effects for the new indie horror film American Mary, currently in production.

The deal comes on the heels of the recently released DVD of Dead Hooker in a Trunk – the debut film from Twisted Twins Productions. Inspired by Robert Rodriguez‘s 1995 book Rebel Without A Crew, Jen and Sylvia Soska – identical twin sisters from Vancouver – produced Dead Hooker in a Trunk on a shoestring budget – writing, directing and staring in the film themselves, as well as doing their own stunts. The film went on to develop a cult following – touring film festivals and getting picked up by IFC Midnight.

Full article: http://www.btlnews.com/news/mastersfx-to-collaborate-with-twisted-twins-productions-on-american-mary/




Hayek Producing Animated Adaptation of Gibran's The Prophet

(comingsoon.net) Khalil Gibran's best known fictional work "The Prophet" is being adapted for the big screen in a new production that will involve collaborations across many borders. In this adaptation, each of the 89-year old classic's chapters will be directed by a different award-winning filmmaker, with Roger Allers (The Lion King) responsible for the connective through-line narrative.

Pre-production is scheduled to begin this month, with Salma Hayek producing along with Clark Peterson and Ron Senkowski. Doha Film Insititute (DFI) is co-financing along with Participant Media, MyGroup Lebanon, FFA Private Bank, JRW Entertainment and Code Red Productions.

"'The Prophet' has been an incredible source of wisdom and inspiration for millions of people all over the world. Being of Lebanese descent, I'm particularly proud to be part of a project that will present this masterpiece to new generations, in a way never seen before," said Hayek.




Vote For 'Best Visual Effects' Oscar

http://www.goldderby.com/predictions/addprediction/18/23



Cockpit Photo from "The Europa Report" Channels Kubrick’s Space Odyssey

(io9.com) Cockpit photo from The Europa Report channels Kubrick's Space Odyssey We've seen possible footage from the mysterious space flick The Europa Report, which is about a team of astronauts headed out to explore one of Jupiter's moons. This newly released production still reveals yet another sweeping view of the gorgeous ship.

This image is taken from the "nose camera" on the ship and shoots straight down, conjuring up a lovely 2001: A Space Odyssey vibe thanks to the polygonal shaft. The Europa Report should hit theaters sometime in 2013.

Take a look http://io9.com/5887301/cockpit-photo-from-the-europa-report-channels-kubricks-space-odyssey

VIDEO - Possible footage - Take a look: http://io9.com/the-europa-report/



Unscene Heroes: Stan Winston

(eatsleeplivefilm.com) This week follows on thematically from special effects, when I looked at the stunning contribution of Weta Digital, but the focus today pre-dates the kind of jaw-dropping scenes we see in Rise of the Planet of the Apes, and addresses earlier techniques such as animatronics and prosthetics. Today’s individual in question has had a fantastic impact on both the film industry and on the awards front.

Stan Winston, visual effects supervisor, makeup artist and bit-part director, was born in 1946 in Arlington, Virginia. After he graduated High School, he took a 4-year University course where he undertook sculpture and painting. Shortly afterwards he moved to Hollywood, but since an acting career failed, he altered his approach and became a makeup apprentice at Walt Disney.

Only a few years later, Winston had established his own effects company and won an Emmy for a TV film, Gargoyles, in 1972. He continued to gain such Emmy recognition for the rest of the decade, until 1982 where he was nominated for an Oscar for the movie Heartbeeps. However, it was his astounding work on the Carpenter classic, The Thing, that propelled him into the limelight, which is a film that still holds its own today.

The following year he continued to work on projects for TV before beginning a recurring partnership with James Cameron. Their first film, Terminator, genuinely put Winston on the map with his vision and realisation of the now iconic machine portrayed by Schwarzenegger and just two years later in ’86, he won his first Oscar (Visual Effects) for his designs and creation of the terrifying nasties in Aliens.

The years that followed saw him assert his skills to film such as Edward Scissorhands and both Predators (for which he created the recognisable character). 1988 saw his first venture into directing with the horror film, Pumpkinhead, which won him Best First Time Director at the Paris Film Festival.

However, it was in 1990 when he reignited his affiliation with Cameron for the superb Terminator 2: Judgement Day, which blew audiences, as well as the Academy, away with its breathtaking visuals, earning two Oscars (Best Visuals & Makeup) at the 1992 ceremony.

Following that, he again teamed up with Tim Burton for Batman Returns, creating the look for Danny DeVito’s The Penguins and Pfeiffer’s Catwoman, for which he was praised for his realisation of Burton’s ideas and tone of the film.

1993′s Jurassic Park saw a slight change in direction from horror nasties to prehistoric ones, when he worked alongside Spielberg for this monster (excuse the pun) blockbuster. Animatronics were at the forefront of this visual effects marvel, and earned him another Best Visual Effects Oscar.

A more prominent venture into animatronics was to come, as himself and Cameron joined forces to establish Digital Domain: a visual effects company that became one of the most renowned in the world. Since completing the hugely successful Titanic, the pair parted ways, yet Winston continued with his team to earn an Oscar nomination for Jurassic Park: The Lost World, until yet another Spielberg movie came knocking.

This time it was the Kubrick inspired A.I.: Artificial Intelligence, where some advanced animatronics and striking CGI earned him the final Oscar nod of his career. The fantastic SFX and visuals were largely down to the handy skills and his team as well as his imprecible vision, as the film went on to receive numerous Golden Globe and Academy Award nominations.

Towards the latter stages of his career, Stan Winston shared his creative input on Terminator 3: Rise of the Machines, but beforehand had been left very hurt after being snubbed for Paul W.S. Anderson’s Alien vs. Predator. Considering he designed both the original concepts and visual effects on the films, he expected to be included, yet unfortunately wasn’t. This was probably a blessing in disguise, as even though it had great takings at the Box Office, it was a truly pitiful film.

Upon his death in 2008, Arnold Schwarzenegger made a public speech honouring his life, as well as John Favreau dedicating a sci-fi award for Iron Man to him in his memory.

Winston had intended Jurassic Park 4 to be his next project, and even up to his death he had a hand in Avatar with old pal Cameron, and his studio Legacy Effects (renamed from the original Stan Winston Studios) continued to strongly with Avatar and Shutter Island. Winston was a massive influence in his field and should be remembered for his prowess, impeccable skill and dedication.



Special Effects Company of the Year 2012!

(q-sfx.com) We are very proud to announce that we have been named Special Effects Company of the Year 2012 at the Event Production Awards.

We’d like to thank all at the Event Production Show, our clients and most importantly our fantastic (and hungover) team.

SPFX Portfolio: http://www.q-sfx.com/sfx-portfolio/

Source: http://www.q-sfx.com/2012/02/event-production-awards-special-effects-company-of-the-year-2012/




-H I'm done with effects movies for now. When you do a movie like 'Transformers,' it can feel like you're doing three movies at once - which is tiring. -Michael Bay