‘The Martian’ has director Ridley Scott returning to the science fiction genre where he made his mark with “Alien” and “Blade Runner.” Visual effects supervisor Richard Stammers and virtual production supervisor Casey Schatz reveal how everything from Scott’s sketches on printouts to the latest computer technology helped create one of Hollywood’s most realistic space adventures.
In this video, Kenta Honjo of Sony introduces the just-announced a6300, building on Sony’s impressive lineup of mirrorless still cameras, along with three brand new lenses from the upcoming G-Master series. The a6300 reaches an amazing .05 second AF time thanks to its 425 phase-detect AF points, even faster than the a6000, plus it’s now capable of 4k video thanks to a redesigned 24.2MP sensor. The new lenses offer fast speeds, incredibly sharp picture, creamy smooth bokeh, and have been optimized for both stills and video.
Assistant Director Carrie Havel calls out the cameras in this behind the scenes peak at what goes on in the director’s booth on “Grease Live” (click on the image to see the video)
A lot of people have asked what it means to be the Associate Director on a show like Grease Live. Here’s a peek behind the curtain. Every shot in the show was designed and scripted by our director Alex Rudzinski. My job was to execute that plan. You hear me calling shot numbers and camera moves carefully coordinated with the music. My head stays in the script and Alex, to my right, keeps an eye on cameras to adjust framing and pacing.
What goes into designing an animated character you’ll love watching for an hour and a half — and remember forever. We hear from three of this year’s contenders, Albert Lozano from Pixar, Nick Bruno and Scott Carroll from Blue Sky, and character sculptor Carol Koch of “Anomalisa,” along with David Vandervoort of Laika (“Paranorman,” “The Boxtrolls”) and Industrial Light & Magic’s Tim Alexander (“Rango”) to reveal the secrets of character design.