world war z - résultats de la recherche

In 2013, Glenn Melenhorst had explained to us about his work on THE WOLVERINE. He then take care of the effects for the documentary DEEPSEA CHALLENGE 3D. Now he talks about the Iloura's work on THE SPONGEBOB MOVIE: SPONGE OUT OF WATER.

Here is the recap of my interviews of the week #9. So you won't miss any of them. INTERSTELLAR: Ian Hunter - Miniature VFX Supervisor...

Ian Hunter is in the world of special effects for more than 25 years. He is one of the co-founder of New Deal Studios. He has worked on many films such as BATMAN RETURNS, PITCH BLACK, WAR OF THE WORLDS or THE DARK KNIGHT. He just won the Oscar and BAFTA for Best Visual Effects for INTERSTELLAR.

Christian Irles is working in visual effects for over 12 years. He worked at various studios such as Klon Films, Cinesite or MPC. His filmography includes films like POSEIDON, CLASH OF THE TITANS, JOHN CARTER or MAN OF STEEL.

On last month, Simon Carr explained to us in detail his work on EXODUS: GODS AND KINGS. He speaks to us today about the impressive work of Method Studios on the new sci-fi movie by The Wachowskis, JUPITER ASCENDING.

In 2013, Bill George had explained to us the work of ILM on G.I. JOE: RETALIATION. He talks to us today about its collaboration with Angelina Jolie for UNBROKEN.

In 2010, Paul Franklin had explained to us the Double Negative's work on INCEPTION. Two years later, he reworked with Christopher Nolan on the conclusion of his BATMAN trilogy. He reteamed with the director this year for INTERSTELLAR.

Simon Carr worked for nearly 20 years in visual effects. He worked in various studios around the world and on many projects. He oversaw the effects of films such as ROCK OF AGES, OBLIVION, STAR TREK: INTO THE DARKNESS or MONUMENTS MEN.

Great news! Rodeo FX is opening an office in Los Angeles! Matte Painter Deak Ferrand and Executive Producer Chery Bainum from Hatch FX are joining...

Charles Gibson began his career in the visual effects by working on numerous TV series. In 1987, he founded Rhythm and Hues with John Hughes, Pauline Ts'o, Keith Goldfarb, Cliff Ball and Frank Wuts. He will work there for a decade. Then he became freelance VFX Supervisor and will handle films like THE TERMINAL, the PIRATES OF THE CARIBBEAN or TERMINATOR SALVATION. He won two Oscars for best visual effects, the first on for BABE and the second for PIRATES OF THE CARIBBEAN: DEAD MAN'S CHEST.