Long before production began, first-time feature director Tim Miller and cinematographer Ken Seng made choices that would help lead to Deadpool’s smashing success.
The short film TRIAL was shot on the Alexa and used the Arri Mini to pull off a complex mirror shot. It has just been released online today via SHORT OF THE WEEK.
The 2016 HPA Tech Retreat UK has announced the first sessions in an expanding schedule for the event, 13 - 14 July 2016, at Heythrop Park Resort in Oxfordshire.
On the occasion of the Queen's 90th birthday Ncam, a developer of augmented reality solutions, has announced that it has been awarded the Queen’s Award for Enterprise in the Innovation category for its work in technology for film and television.
Ncam who are hoping to offer augmented reality for television and film production, will be showing the results of their tie-up with Epic Games at the forthcoming NAB Show.
When three times Oscar winning Cinematographer Robert Richardson called for an 'effects free' Oscar category for Cinematography many people might have seen his gripe as the moaning of one of the old guard, but watch this VFX breakdown of the new 'Deadpool' movie and count how many real shots there are as opposed to VFX.
British cloud and network provider, Exponential-e, has announced it is working with Microsoft and its cloud platform Microsoft Azure, to deliver Render-as-a-Service (RaaS).
Sci-fi writer William Gibson once commented “...the street has its own use for things”- meaning that most technologies get co-opted in different ways than expected, and eventually make their way to street level and open access. Take VFX (Visual Effects); once only associated with Hollywood films it is now almost ubiquitous.
For SPECTRE, the 24th James Bond adventure, MPC completed around 300 VFX shots. Led by MPC VFX Supervisor Mark Curtis and Producer Laura Schultz,
Rushes were tasked with designing and creating all on-set UI screen graphics for SPECTRE. Over a 13 month period of working on the 24th Bond film, from pre-production through to post, in total Rushes created more than an hours’ worth of unique animations and motion graphic sequences that furnished over 300 screens, across 23 scenes in the film.
VFX Legion is a postproduction facility unlike any other in that, strictly speaking, there is no actual facility. Read on to learn how the world’s first fully remote visual effects vendor operates, and how tools like cineSync ensure a harmonious workflow, no matter the geographical distance.
Led by Production VFX Supervisor Richard Stammers, and MPC VFX Supervisors Anders Langlands and Tim Ledbury, the Moving Picture Company were lead visual effects studio on Ridley Scott’s The Martian, delivering 425 shots.