glass - résultats de la recherche

Just before Christmas 2012, Guillaume Rocheron had explained to us his work on LIFE OF PI. Now he talks about the visual effects of MPC on MAN OF STEEL.

Simon Stanley-Clamp explained the Cinesite's work on PIRATES OF THE CARIBBEAN: ON STRANGER TIDES on his last visit to The Art of VFX. He then worked on JOHN CARTER and today he explains his work on IRON MAN 3.

Bill George began his career in visual effects as a model maker in 1979 on STAR TREK: THE MOTION PICTURE. After completing his work on BLADE RUNNER, he joined ILM in 1981. He created models for many films such as STAR WARS: EPISODE IV - RETURN OF THE JEDI, INNERSPACE or GHOSTBUSTERS II. In 1997, he became a visual effects supervisor and take care of many films like GALAXY QUEST, HARRY POTTER AND THE CHAMBER OF SECRETS, EVAN ALMIGHTY or I AM NUMBER FOUR.

Two years ago, Dan Schrecker had explained his work on BLACK SWAN. He then oversaw the effects of films such as LIMITLESS, THE SITTER or MOONRISE KINGDOM. Accompanied by Matt Krentz, Digital Supervisor, he talks about the effects of WARM BODIES.

After beginning his career in traditional animation, Joe Farrell goes digital on TV series such as STARGATE SG-1 or JEREMIAH. Few years later, he joined Digital Domain and worked on films such as I, ROBOT, FLAGS OF OUR FATHERS, TRANSFORMERS or 2012. In 2010, he moved to Scanline VFX to work on HEREAFTER and then on IMMORTALS and BATTLESHIP.

Dan Levitan began his career in visual effects at Cinesite Hollywood in 1994 and worked on films like WATERWORLD, GATTACA or PLEASANTVILLE. He then worked at Dream Quest Images, CIS Hollywood, Digital Dimension and Hammerhead. As VFX supervisor, he worked on movies such as SALT, THE HANGOVER PART II or FRIGHT NIGHT.

Sara Bennett is in visual effects for over 12 years. She started at Mill Film, then joined Framestore to return finally at The Mill. She has participated in many projects such as BLACK HAWK DOWN, 28 WEEKS LATER, THE CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER or DREDD.

After explaining the visual effects of Image Engine on BATTLESHIP, Chris Harvey is back to talk about his work and his collaboration with Kathryn Bigelow on ZERO DARK THIRTY.

In 2012, Angela Barson told us about her work on SNOW WHITE AND THE HUNTSMAN. She's back to explain the work of BlueBolt on CLOUD ATLAS.

Florian Gellinger is in the visual effects for over 10 years. In 2007, he founded RISE with three friends and supervised numerous projects such as THIS IS LOVE, NINJA ASSASSIN or X-MEN: FIRST CLASS. In the following interview, he talks about his work on CLOUD ATLAS.