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February 22, 2013, 8:12 am
Of all the tech categories at the Oscars, Best Editing is the one most closely tied to Best Picture. In the 77 years that the award has been handed out, 33 have gone to Best Picture winners, most recently "The Hurt Locker" (Chris Innis, Bob Murawski) in 2009.
November 13, 2017, 2:40 pm
Andrew Hellen has more than 20 years of experience in the visual effects. He worked at Fuel VFX and Iloura before joining Method Studios. He took care of the effects of films such as IRON MAN 2, GODS OF EGYPT, GHOSTBUSTERS and FANTASTIC BEASTS AND WHERE TO FIND THEM.
November 13, 2017, 10:16 am
Why hello there! It’s been quite some time since I’ve done some After Effects scripting work, and I’ve been a bit MIA in the After Effects community lately. That is mostly due to the 3D transition I have been making over the years, and more so recently. I’ve been diving pretty hardcore into Houdini, Cinema4D, X-Particles, and TurbulenceFD as of late. None of those new by any means for me, but have just been in sharper focus as I push harder and harder to expand my skill set. I’ve even started a new Instagram account to highlight some of the experiments I have been doing. Search for davidtornovfx on Instagram to follow that work. I of course also still have much going up on my Vimeo channel as well.
November 13, 2017, 5:41 am
Pacing can be a difficult concept to wrap your head around. Should your scene unfold quickly or slowly? How do you know when you've nailed it? Are there any guidelines to follow when you're not sure? Well, even though you may have to put a significant amount of trust in your instincts to really get the pacing of your film right, there are a lot of practical things you can do to get it closer to where you want it to be, and Kris Truini of Kriscoart goes over ten of them in the video below.
November 12, 2017, 7:39 am
With more than 40 films to his credit, spanning genres from comedy to suspense and sci-fi, Oscar-winning editor Paul Hirsch has much to offer in counsel to younger filmmakers as he visits Camerimage Film Festival for his award for “unique visual sensitivity.”
November 11, 2017, 8:46 am
First, the original drawing of Johnson the cat, graphite and India ink on notepad paper, 11″ x 14″, by Chuck Jones, circa 1989. Illustration for “Chuck Amuck”, Jones’s autobiography (pg.15). Second, painted version on reproduced line, gouache and India Ink on paper, 11″ x 14″, by Chuck Jones, circa 1989.
November 10, 2017, 10:35 am
After the Demogorgon terrorized Hawkins, Indiana in the first season of “Stranger Things,” Season 2 doubled down on the monsters by bringing on the Mind-Flayer, which will be discussed at a later date, and showing another dimension of the Demogorgons. The precocious Dustin (Gaten Matarazzo) adopts a strange, tadpole-like creature he found in is trash can, but the cute critter grows rapidly, has carnivorous appetites, and soon becomes a Demodog, aka a creature that looks an awful like a Demogorgon that moves on all fours.
November 10, 2017, 10:35 am
At the end of last year, Florian Gellinger had explained the work of RISE on DOCTOR STRANGE. He talks to us today about his work on THE DARK TOWER, the adaptation of Stephen King’s book.
November 10, 2017, 6:59 am
The explosion in visual effects work in comic book films is perhaps only matched by the explosion in design work also seen in those movies – everything from logo reveals, to main-on-end titles, screen UIs and other designs.
Gordon sits down with Joe Walker to discuss editing Blade Runner 2049. Gordon and Joe have talked twice previously, first abo ...
Gordon sits down with Sidney Wolinsky to discuss the editing of Guillermo del Toro's latest film The Shape of Water.
Gordon sits down with Lee Percy to discuss editing The Mountain Between Us.
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