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April 22, 2019, 6:23 am
PLEASANTVILLE VISUAL EFFECTS SUPERVISOR CHRIS WATTS ON BRINGING THROUGH A REVOLUTION IN SCANNING/FILM-OUTS, THE UNEXPECTED USE OF SHAKE, AND THE FILM’S HARDEST SHOTS (THEY’RE NOT WHAT YOU THINK).
April 18, 2019, 9:31 am
Spring is here, and it reminds me that, for Cinefex, every year is a bifurcated one. Roughly, the six-month period of April through September brings with it the release of many large-scale, effects-heavy movies – the kind of movies that are our raison d’être. In contrast, the six months between October and March offer up a very different – shall we say, ‘more serious’? – type of film, those in which Nicole Kidman’s fake nose piece in The Hours is the most effects-y thing on the menu. Those are the ‘What the heck are we going to cover?’ months for us – not always, of course (thank you, movie gods, for the Lord of the Rings trilogy, Interstellar and First Man) – but often.
April 17, 2019, 11:01 am
In 2018, John Likens explained to us the work of Method Studios on the opening and end titles sequences of DEADPOOL 2. He talks to us today about his work on the main title sequence of WARRIOR.
April 17, 2019, 11:01 am
Blackmagic Design's Technical Sales Director, Craig Heffernan, takes us through some of the new features in both Resolve 16 and the recently announced URSA Mini Pro G2 Camera on the NAB2019 showfloor.
April 17, 2019, 6:22 am
I’m one of those people who still buys DVDs for the exclusive featurettes. Oftentimes good, sometimes great, those making-of docos don’t always have time to dive into the nitty-gritty of how a film was crafted by scores of artists coming together.
Gordon sits down with the Sound Design team (Just nominated for an Oscar) for A Quiet Place. Ethan Van der Ryn and Erik Aadah ...
Gordon sits down with Wyatt Smith to discuss the editing of Mary Poppins Returns and the challenges the film presented him in ...
Gordon sits down with Chayse Irvin to discuss his approach to shooting BlacKkKlansman and his theories about cinematography.
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