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December 17, 2018, 5:44 am
As a cinematographer, but also an occasional editor who either hires talented motion graphics artists or, in the cases where there isn’t enough budget to do so, does it himself, it recently occurred to me we’re living in a brave new world of automation. For a variety of reasons, such as I shoot a lot of small crew and even some one-man band production, I have come to count on such convenient innovations as dual-pixel autofocus and variable internal NDs on production cameras.
December 16, 2018, 8:46 am
In 2016, Warner Bros. Pictures and writer J.K. Rowling pulled off the impressive feat of kick-starting a new movie franchise set in the same “Wizarding World” as the Harry Potter series. Set decades before the events of the eight-part saga, Fantastic Beasts and Where to Find Them was a critical and commercial hit, earning acclaim for its magic-infused vision of 1920s New York City and the colorful, fictional creatures let loose upon it over the course of the film.
December 13, 2018, 10:15 am
For nearly as long as we’ve had motion pictures, we’ve had illusions to put in them — and they’ve never come easy. The year 1893 saw the first public viewing of a kinetoscope film, Blacksmith Scene, and just two years later, early filmmaker Alfred Clark executed what is commonly regarded as the first special effect. In a gruesome short about the beheading of Mary, Queen of Scots, Clark stopped the film just as the blade was about to chop off Mary’s head, instructed the actors to freeze, took the one playing Mary off the set, replaced her with a dummy, and started the film again before bringing the poor dummy to its decapitated fate.
December 12, 2018, 10:13 am
I’m speaking with Eran Dinur, a VFX Supervisor for Brainstorm Digital in New York City. I’m really excited to do this interview. On top of being a VFX Sup, Eran has written and published The Filmmaker’s Guide to Visual Effects. I thought it would be great to share Eran’s story on how he ended up in visual effects from a completely different industry. I leave this as a surprise!
December 10, 2018, 1:18 pm
“You’ll believe a man can fly.” So proclaimed billboards and posters across the nation in 1978, in anticipation of the December release of Richard Donner’s Superman — The Movie. It wasn’t an idle promise. Although the Man of Steel had been depicted in numerous TV shows and cartoons over the years, Donner’s film vowed something special: It would convince us that what we were seeing was actually happening. And the visual effects did, indeed, prove to be remarkable: Aided by a clever front projection technique developed by inventor Zoran Perisic, as well as star Christopher Reeve’s ability to move the way an actual airplane might, Superman set new standards for what could be accomplished onscreen.
December 10, 2018, 9:51 am
Lars Andersen began his visual effects career in 2011 at Cutting Edge. He works on many films such as I, FRANKENSTEIN, PREDESTINATION and THE AGE OF ADALINE. He joined One of Us in 2016 and takes care of the effects of films like LIFE and THE CURRENT WAR.
December 6, 2018, 10:09 am
Alex Lemke started his career in visual effects in 1996. He works in many studios such as Cinesite, Framestore and Weta Digital. As a VFX Supervisor, he takes care of the effects of movies like A MOST VIOLENT YEAR, BILLY LYNN’S LONG HALFTIME WALK and PATRIOTS DAY.
Gordon Sits down with Christopher Tellefsen to discuss A Quiet Place.
Gordon sits down with Marcus Schioler, Antoine Rotondo, & Marc-André Ferguson to discuss the big announcement at A ...
Gordon sits down with Joe Walker to discuss Steve McQueen's new film Widows.
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