dead don't die - search results
If you're not happy with the results, please do another search
Mert Kizilay is a designer and director based in Los Angeles. He graduated from Fine Arts Animation School in Eski?ehir/Turkey. He has recently joined the teams of yU+co as designer.
Earlier this year, Ollie Rankin explained the work of Method Studios on GI JOE: RETALIATION. Now he explains his work on WHITE HOUSE DOWN.
Before joining ILM in 1996, Hal Hickel had worked at Will Vinton Studios and Pixar. At ILM, he participated on many of the major projects of the studio such as STAR WARS EPISODE 1 and 2 and also on the first three PIRATES OF THE CARIBBEAN. He receives an Oscar for his work on PIRATES OF THE CARIBBEAN: DEAD MAN'S CHEST. He then work on IRON MAN and especially to RANGO and also SUPER 8.
Ben Grossmann began his career in the VFX more than 10 years ago. He has worked on many films such as THE DAY AFTER TOMORROW, 2012 SHUTTER ISLAND or ALICE IN WONDERLAND. He received an Oscar for Best Visual Effects for HUGO.
Karen Goulekas is back on The Art of VFX. In the following interview, she explains her collaboration with director Rian Johnson and the various challenges she encountered on this project.
Last year, Adam Valdez speaks to us about the effects of MPC for THE CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER. This time, he explains his work on JOHN CARTER.
Jesper Kjolsrud began his career on the film THE BORROWERS. After working 10 years in London with MPC and Double Negative on films such as PITCH BLACK, STALINGRAD, THE CHRONICLES OF RIDDICK or 10,000 BC. In 2009, Jesper joined teams Image Engine in Vancouver. He will work on the films DISTRICT 9, GREEN ZONE or THE LOSERS. In the following interview, he talks about his work on THE THING.
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.
Jody Johnson went through all stages at Double Negative. She begins with roto and the compositing on STALINGRAD, STARDUST or SHAUN OF THE DEAD. Then compositing supervisor and finally VFX supervisor for movies like PENELOPE or BRIDGET JONES: THE EDGE OF REASON.