Once Upon a Time - résultats de la recherche

Sean Andrew Faden began his career in 1996 at Digital Domain where he worked on films such as THE FIFTH ELEMENT, TITANIC, FIGHT CLUB or RED PLANET. In 2004 he joined the team of Asylum Visual Effects and participate on films like CHARLIE AND THE CHOCOLATE FACTORY, THE CURIOUS CASE OF BENJAMIN BUTTON or DOMINO. In 2009, he joined Method Studios and oversee the visual effects of films such as LET ME IN, GULLIVER'S TRAVELS or CAPTAIN AMERICA: FIRST AVENGER. In the following interview, he talks about his work on THE GIRL WITH THE DRAGON TATTOO.

Geoffrey Hancock has been evolving for over 10 years in visual effects, he worked at Gajdecki Visual Effects, Rainmaker and CIS Vancouver, the latter of which is now Method Studios. Geoffrey has worked on films like I Robot, VANTAGE POINT or NIGHT AT THE MUSEUM. This is his third collaboration with Clint Eastwood, he oversaw the effects of CHANGELING and INVICTUS. Ollie Rankin worked at Weta for the first two LORD OF THE RINGS and then joined the teams of MPC and has worked on films such as KINGDOM OF HEAVEN, WATCHMEN or HARRY POTTER AND THE HALF-BLOOD PRINCE. For the occasion of INVICTUS, Ollie joined CIS Vancouver.

Kyle Cooper has designed and directed over 150 film title sequences, the most known is SEVEN. Among his recent work, we find THE WALKING DEAD, FINAL DESTINATION 5 or X-MEN FIRST CLASS. He is the founder of the studios Imaginary Forces and Prologue Films. Ahmet Ahmet worked over 10 years in the creation of film title sequences. He handled the title of movies such as THE ONE, SPIDER-MAN, IMAGINE THAT or THE TWILIGHT SAGA: ECLIPSE. In the following interview, they talk about their work on MISSION IMPOSSIBLE: GHOST PROTOCOL.

Simon Hughes began his career in visual effects in 1997 at Cinesite. For over 10 years, he worked in various studios like Double Negative, Rainmaker UK or Clear and on movies like KINGDOM OF HEAVEN, UNITED 93 or SLUMDOG MILLIONAIRE. In 2009, he joined the teams of Image Engine to work on DISTRICT 9. He subsequently oversaw the effects of film LAW ABIDING CITIZEN, THE LOSERS or THE FACTORY. In the following interview, he talks (with Gustavo Yamin, Jordan Benwick and Janeen Elliott) of his work on IMMORTALS.

I had the pleasure to interview Alessandro Cioffi in 2010 for his work on NINJA ASSASSIN at Trixter. Since then he has worked on films like PERCY JACKSON, IRON MAN 2 or X-MEN FIRST CLASS. In the following interview, Alessandro talks about his work on CAPTAIN AMERICA.

Phil Jones has been evolving for over 10 years in VFX. He worked at Technicolor and Toyox. In 2007, he left for China to support the launch of Technicolor Beijing. He oversees the effects of such films as THE BANQUET, KUNG FU DUNK, THE FOUNTAIN, or 2012. In the following interview, he talks about his work on AFTERSHOCK.

Digic Pictures became known by working on the effects of TERMINATOR 3: RISE OF THE MACHINES. They then conducted numerous cinematic games like ARMIES OF EXIGO, WARHAMMER or DRAGON AGE 2. And of course, the impressive cinematics for the last three ASSASSIN'S CREED. In the following interview, the team Digic Pictures tell us about his work on ASSASSIN'S CREED REVELATIONS.

Vincent Cirelli and his brilliant team at Luma Pictures are back on The Art of VFX. After given life to the impressive Destroyer on THOR, Vincent discusses his work on the super-heroes of X-MEN FIRST CLASS.

After he had explained the impressive work of Cinesite on THE CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER, Matt Johnson is back on The Art of VFX. He talks about his work on X-MEN FIRST CLASS.

François Ferracci has worked for 10 years as a graphic designer and has created many film credits as FROM PARIS WITH LOVE or Sheitan. He founded Pik.sel with David Goldenberg.