7 days of filming, 2 days for still photography, 9 locations, 6 camera units, 7 captains, 5 production support boats, 45 crew members…shooting with Arri Alexa, Red Epic, Phantom Flex, Phantom Miro, Sony F3…Techno Dolly, Cineflex (boat and helicopter), Underwater Phantom, 360 degree dolly track setup…all in all, one of the most involved, most complex and most fun shoots I’ve been lucky to be a part of. Thank you to the team at Evolve IMG, and the NGC Creative Team for one incredible production!
The team at fxguide spoke to key Weta Workshop artists about their design process for the famous creature.
Richard Taylor (Design and Effects Supevisor, Weta Workshop): Gareth has really come through the madness of production and been able to focus on the daily magic that’s required of a director when you’re working with a large crew. Thomas Tull (one of the film’s producers) is also an individual who is so supportive of a person like Gareth. To take a person from a $500,000 feature film to be able to see the genius in this particular director and understand that in the movie Monsters is all the elements of a grand and such a huge film as Godzilla.
But Gareth always had Godzilla in him as far as we were concerned. We never ever hesitated, questioned or gave it a second thought, ‘Oh shit that young guy that came and visited is going to get to make Godzila.’ After you meet Gareth and see his early work you just know that his capacity for awesomeness is in him. We do encounter some directors who haven’t had any technical training and that can sometimes be a challenge, as opposed to someone like Gareth. It’s actually his first language.
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Forrest Wickman examines some of the long takes peppered throughout the fourth season of one of the best shows on television: “Louie”
When the first season of True Detective ended its fourth episode with a roughly six-minute action sequence shot in one long take, fans and critics were wowed. There were whole articles dedicated to breaking down the shot’s execution and putting it in the context of TV and movie long take history. When this season of Louie ended its third episode with a long take lasting about 7 1/2 minutes, on the other hand, the nature of the shot was barely mentioned.
This makes some sense. Louie, after all, wasn’t body-slamming drug dealers and weaving his way through exploding squibs and elaborate pyrotechnics. (Though that would have been awesome.) Instead, he was just doing what he spends most of the show doing: walking and talking his way through the challenges of everyday life, and making a few jokes.
While that long, uninterrupted shot was the longest so far this season, and—given the FX show’s need for commercial breaks—the longest we’re likely to ever see on Louie, it’s far from the only one this season. There have been times watching the show when I almost could’ve sworn it was ghost-directed by Alfonso Cuarón: Over its three or so hours so far this season, there have been about two dozen shots longer than a minute, about a dozen longer than two minutes, and about five longer than three minutes. Those times may not sound like much, but on screen, one or two minutes without a cut can feel like an eternity. In fact, many of the most renowned long takes in screen history—the entrance into the Copacabana in Goodfellas, the opening shot of Boogie Nights, the opening shot of Touch of Evil—last only about three minutes. That closing scene from “So Did the Fat Lady,” at around 7 1/2 minutes, was only a few seconds shorter than the longest shot in Children of Men.
Slate.com | Read the Full Article
Maleficent’s Oscar-nominated Visual Effects Supervisor Carey Villegas speaks with Creative COW about his work creating the world of the iconic Disney villain, coordinating multiple effects houses on every one of over 1500 shots, and the challenges of creating realistic effects.
I know you were the VFX supervisor on Alice in Wonderland, which was another very visually rich, world creation, and not just a movie story being told, but a world being built. How would you compare your role on those two?
I’ve collaborated with Robert Stromberg before in his role as art director, on a number of projects over the years, including Alice in Wonderland. Our challenge with that was the same as for Maleficent: how to create these magical, fanciful environments, while still making them feel kind of realistic and believable.
In the case of Alice in Wonderland, we were going for much more stylized feel. That was primarily done within a green environment with very few set pieces. In that way, the film was designed more in post-production.
This time, we wanted to ground it a little bit more in reality — still having the fanciful things that we had in Alice in Wonderland, but to also have more practical things to ground it, starting with more sets and more locations.
I’ve done a lot of projects with invisible types of effects, for instance, Cast Away. Movies like that aren’t trying to showcase any particular visual effects. You’re just trying to extend the world, make it more believable, and also do things that may not be practical for actors to do, or locations to go to. So when you get into an Alice in Wonderland-style film, or a film like Maleficent, the great thing is that you’re really trying to say, “Wow look at me.”
We’re always striving to bring realism to some of these things that we’re creating entirely on the computer. You can do that in a number of ways, whether it’s performance capture or motion capture, or even if you’re doing traditional key frame style animation. It really depends on the characters.
The key for me on this particular show was that there are so many different characters. For example, there are 15 or 16 different types of fairies, and within each of those classes, there were variations on them. That meant creating 40 or 50 different-looking characters, and all kind of families of characters.
Creative COW | Read the Full Article
David duChemin shares his advice for budding photographers who ask his advice on their portfolio in this lovely article that applies equally to filmmakers.
Thank you for the invitation to spend some time with your work. I know you meant for me to look at your work and give you advice based on that, but I only know how to struggle with the making of my own art, not yours. I could make suggestions about colour or composition but they’d only bring you closer to making your work look like mine, and no one needs that. Only you can discover what your art will look like. So here’s what I’ve got. It’s what I wish I’d heard sooner:
You’re young. I still think I am too, but it’s relative. You’re at the very beginning of this process and much as you think you are beginning to know who you are now, well, Life has a way of changing that person, and with it her art. You ain’t seen nothing yet.
So since you’re at the beginning, spend more time working on the artist than the art. Be patient with her. Allow her to express her wants and desires and chase hard after them. They’re likely to change along the way. Chase them wherever they lead. Learn to listen to, and trust, that voice.
PetaPixel | Read the Full Article
VoiceBunny and Voice123 voice actor Jon Bailey, voice of Honest Trailers, movie trailers, documentaries, and much, much more, explains what ADR is and how he does it.
The folks at voicebunny Having some fun with ADR
There’s nothing worse than spoiling a beautiful scene by composing your subject too small in the frame. In this quick tutorial we’ll show you how to compose images for maximum impact by avoiding unnecessary surroundings that don’t add to your shot.
CGI may have popped up in only the past 30 years as a powerful tool for graphic design and film, but the rules stretch farther back into history.
Before the introduction of geometric perspective, the realistic depiction of nature was not one of the purposes of art. Instead, artists chose the size and position of objects in a picture by their relative importance to one another. A distant castle might appear to be larger than one in the foreground simply because it was considered more important.
Italian artist Filippo Brunelleschi (1377—1446) created the rules of perspective in the early fifteenth century. His breakthroughs led artists to portray the world as it really looked to the human eye. Some artists, such as Albrecht Durer (1471—1528) of Germany, even went so far as to make special tools to help them create mathematically perfect perspective drawings. These were perhaps the first mechanical devices to be used to create art.
Most artists quickly adapted these new technologies to create their artwork. In the ensuing centuries they have used all sorts of machines to make the creation of art easier. The pantograph, for instance, is a simple mechanical device that enlarges or reduces a drawing. Pantographs are not only still used by artists today, they have wide applications in modern industry as well.
IO9 | Read the Full Article