Warner Bros. Pictures’ Batman v Superman: Dawn of Justice was released last month in Dolby Cinema. That process begins with the filmmaker’s vision. The technical wizards behind the film recently sat down for an interview to discuss their roles in bringing it to the big screen.
Final post-production for Justice for MLK: The Hunt for James Earl Ray, a two-hour documentary that premiered recently on the American Heroes Channel, was completed at Pixel Underground, a Sim Group company. The facility handled online, final color grading and deliverables. It also provided graphics services, creating the main title as well as dozens of artfully animated elements that appear throughout the show. Produced by Cream Productions in association with Absinthe Film Entertainment, Justice for MLK centers on the final days of Martin Luther King’s life and the tense, 65-day manhunt that led to the capture of his killer. Directed by Michael DeCarlo, the documentary is composed of archival footage, interviews with people familiar with King, Ray and the police investigation, and historical reenactments.
A new campaign launches the branding partnership between global sports brand Puma and the Red Bull Racing Formula One Team in preparation for the upcoming Formula One 2016 Season. The concept required a herd of stampeding bulls to charge around the two Red Bull Racing drivers Daniel Ricciardo and Daniil Kvyat. They turned to effects artist David Cox.
AMC’s critically acclaimed Revolutionary War drama Turn: Washington’s Spies transports viewers back to the cities, villages, plantations and battlefields of colonial America. Ensuring that all those locations, their buildings and geographic features are historically accurate, that the ships, flags and musket shots are correctly represented, is the result of careful research and clever work on the part of the show’s production team and visual effects artists from FuseFX.
Deadpool is already one of 2016’s biggest box office hits. The darkly comic and graphic take on the superhero movie was finished by colorist Tim Stipan on Baselight at Deluxe’s EFilm in Hollywood. “Working on such a complex, effects-heavy project often requires various external matte sequences in addition to multiple image tracks. Multiply that by the large number of VFX vendors, and it meant we had a lot of different layers and mattes,” said Stipan.
The Walk feature film, Atomic Fiction’s digital recreation of 1974 New York City—complete with hot dogs steaming on a vendor cart—earned the praise of critics who proclaimed the movie “a visual spectacle” with effects “so grand it’s easy to forget you’re watching a virtual 100 percent CG-created world.” Less visible but equally important to filmmaker clients is the studio’s behind-the-scenes production artistry. Marc Sadeghi, president of Visual Effects at Atomic Fiction said, “By combining the power of technology, the creativity of passionate artists, and a collaborative approach to working with filmmakers, we’re able to overcome the challenges inherent to VFX production. As a result, we can satisfy both the VFX appetites and production deadlines of our clients.”
Screenings of Imagine Dragons: Smoke + Mirrors Live music concert will be enhanced with Philips LightVibes. An initial three cinemas will deploy the technology for immersive cinema with more than 790 additional cinemas offering the title via distribution, broadening access to the concert for many more fans around the world. Tyrone Walker-Hepburn, owner of the Genesis independent cinema in London, which will show the UK screening said, “As an independent cinema, we’re all about differentiating ourselves. So being able to offer interesting, premium content like the Imagine Dragons concert using Philips LightVibes really sets us apart. It helps us to attract new audiences and revenue streams, which are key to our growth plans. People describe us as a maverick cinema and ventures like this cement that reputation."
Rodeo FX completed close to 230 VFX shots for Deadpool, Tim Miller’s R-rated depiction of the Marvel Comics anti-superhero. The studio, led by VFX supervisor Wayne Brinton, worked on complex sequences that required fire and embers, grotesque skin alterations, and set extensions. Rodeo FX brought its unique skills to this collaborative VFX effort, ensuring that the finished product was much more than the sum of its parts.
Hocus Focus has been described as one of the industry's most creative and dynamic boutique post houses. Attracting international and local high-profile clientele, it is an inspiring example of how a small organization can punch above its weight, win business and make money. Equipped with the latest SGO Mistika technology and creative expertise, the company offers competitive services and facilities for every stage of the production process delivering stunning results across commercials, film and television drama and documentaries.
Rodeo FX has won a Visual Effects Society Award for its work on season five of Game of Thrones. The award for Outstanding Created Environment in an Episode honored the studio’s creation of the city of Volantis. Rodeo FX received the award last night at the Beverly Hilton Hotel in Los Angeles and can add it to the VES Award it won last year for its work on Birdman.