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DRACULA UNTOLD: Christian Manz – Overall VFX Supervisor – Framestore
Christian Manz had explained to us in detail the work of Framestore on 47 RONIN last year. Now he talks about his work on DRACULA UNTOLD.
EDGE OF TOMORROW: Jonathan Fawkner – VFX Supervisor – Framestore
In 2012, Jonathan Fawkner had told us in details of Framestore work on WRATH OF THE TITANS. He then worked on GRAVITY as additional visual effects supervisor. Today he talks about his work on EDGE OF TOMORROW.
I, FRANKENSTEIN: Avi Goodman – VFX Supervisor – Iloura
Avi Goodman began his career in visual effects as an animator at Weta Digital for THE LORD OF THE RINGS: THE TWO TOWERS. He then joined Iloura and worked on films such as AUSTRALIA, DO NOT BE AFRAID OF THE DARK or TED.
MAN OF STEEL: Dan Lemmon – VFX Supervisor – Weta Digital
Two years ago, Dan Lemmon told us about the work of Weta Digital for RISE OF THE PLANET OF THE APES. It is now back to explain his work on MAN OF STEEL.
FAST & FURIOUS 6: Koen Vroeijenstijn – CG Supervisor – Image...
Koen Vroeijenstijn worked in the video game at Guerrilla Games before coming to the U.S. and joining DreamWorks Animation. He worked on projects such as KUNG FU PANDA, MEGAMIND or RISE OF THE GUARDIANS. He then joined Image Engine to work on ELYSIUM.
FLIGHT: Kevin Baillie – VFX Supervisor – Atomic Fiction
Kevin Baillie began working in the visual effects as previz artist on STAR WARS EPISODE 1. He joined The Orphanage in 2000 and have worked on numerous films such as HELLBOY, THE DAY AFTER TOMORROW or SIN CITY. He then worked at ImageMovers Digital on projects like A CHRISTMAS CAROL or March NEEDS MOMS. In 2010, he founded Atomic Fiction with Ryan Tudhope.
DREDD: Jon Thum – VFX Supervisor – Prime Focus World
Jon Thum works in visual effects for over 20 years. He worked in London, Australia and the USA. He has participated in projects like DARK CITY, THE MATRIX, PITCH BLACK or TROY. He won an Oscar for Best Visual Effects for THE MATRIX.
JOHN CARTER: Sue Rowe – VFX Supervisor – Cinesite
In 2010, Sue Rowe had told us about his work on PRINCE OF PERSIA. She then moved on the most ambitious project to date at Cinesite: JOHN CARTER. In the following interview, Sue presents in detail her work of more than two years on this film.