Off to Turin on Monday, shooting @view_conference and thought I’d record a bts video. Started with the planning and packing today. Lookout for the full #photography trip video in around a week. #photographer#vfx#event
On Thursday, November 1st, visual effects industry veteran Kevin Margo and his team are breaking down their groundbreaking short film, CONSTRUCT, which follows the action-packed tribulations of a construction android.
After a screening of the film, discover the advancements the team made in real-time GPU ray tracing, cloud rendering, virtual production, and virtual reality as they reveal the innovative workflows and technology developed over the project’s four-year production. The presentation will be peppered with behind-the-scenes videos and outtakes, as well as anecdotes on the team’s collaborations with Chaos Group, Nvidia, Google, and legendary VFX supervisor Doug Trumbull (2001: Space Odyssey). Get ready to be inspired during this evening full of robot rumbles and not-to-be-missed knowledge!
Copy and paste the link to RSVP!
Congrats to Adrian Shapiro of @scoundrel_films_projects on taking out the Directing Award at CLIPPED 18 for @lookandbehold - Locust Christ.
Special thanks for the prizes to @rodemic @silicon_power.global @onesolutions and @blackmagicnewsofficial.
BTS 📽 @martyn.t 📷 @kernal.productions
Visual effects technicians work on miniatures of skyscrapers hung on their sides to facilitate easier shooting along the heights of the buildings for writer-directors Joel and Ethan Coen’s comedy “The Hudsucker Proxy” (1994).
The Coens didn’t want a mere realistic reproduction of the 1950s New York skyline, seeking instead a more stylized version. “We took all our favorite buildings in New York from where they actually stood and sort of put them into one neighborhood,” production designer Dennis Gassner explained. Among those used were skyscrapers like the Chanin Building, the Fred F. French Building and One Wall Street, Manhattan, with additional designs based on Chicago’s Merchandise Mart and Aon Center.
Twenty-seven crew members overseen by visual effects supervisor Michael J. McAlister and Mark Stetson took three months to create the miniatures at the scale of 24:1. The fictional Hudsucker building, drawing inspiration from fascist architecture and the Art Deco movement, was constructed at the scale of 6:1 to accommodate closer shots, including the long-zoom in of Tim Robbins’ character Norville Barnes during the film’s opening.
Most of the models were two-sided, others just one. The Hudsucker building was the sole exception, built three-dimensionally to accommodate a larger number of shots.
The skyline model was repurposed and re-used for “The Shadow” (1994), “Batman Forever” (1995), “Batman & Robin” (1997), and “Godzilla” (1998).
#behindthescenes#makingof#onset#onset 🎥🎬 #setlife#specialeffects#visualeffects#vfx#model#miniature#productiondesign#productiondesigner#cinematographer#cinematography#1994#1990s#coenbrothers#directing#director#acting#actor#cinema#cinephile#cinephilecommunity#film#filmmaker#filmmaking#movie#moviemaking#movies
Daily sketch. I took a creature concept art by the insanely talented Terryl Whitlatch (Star Wars) and made a little sculpt out of it. This creature is called Elemex. Swipe to see the original concept art. I have great ideas for it and I'm thinking of making it my own by changing a few things here and there and playing with scale. It's going to look pretty cool! That project is coming after the TIE I'm currently working on.
Before/after VFX. “Omega Unit” case study. Digital squibs, debris, pryo, and atmospherics were added to enhance a heavily stylized action set piece. Camera shake was added to help put the camera man (and hence audience) in the middle of the fire fight. Omega Unit will be available later this year on Amazon and other platforms.
Tuesday’s #onset#setlife#vfx#food#postproduction#goodeats rice with cranberries, bread, meatballs, pasta, mashed potatoes, peas, mixed salad with raspberry vinaigrette desert fruit and cookies... the cake was a coffee cake so I didn’t indulge