Stanley Kubrick’s production design spotlights are always so fascinating for me. I identify with his tireless pre-production work ethic.
Blade Runner the film that has inspired my journey into to filmmaking. I never get tired of watching of breakdowns or behind the scenes on the film, every time I learn something new.
In the video they talk about the commercial filmmaking of RSA company, Ridley Scott's venture. They mention how commercial filmmaking gives you an arena to experiment in develop tools to use on feature filmmaking.
The film picked up the award at a glittering ceremony at the Dolby Theater in Hollywood. DNEG was the lead Visual Effects partner on ‘Blade Runner 2049’, and has already brought home a BAFTA and a Visual Effects Society Award in the last few weeks for its visual effects work on the movie.
Led by VFX Supervisor Paul Lambert, DNEG’s Blade Runner team delivered most of the Los Angeles 2049 cityscapes, the Joi hologram effects and the seawall chase at the end of the movie. Paul accepted the award last night alongside Overall VFX Supervisor John Nelson, Gerd Nefzer and Richard R. Hoover. Overall, DNEG’s VFX team completed 316 shots for the film. Get a glimpse of our behind the screen work on Blade Runner 2049 here!
Duncan Jones is a director that I have followed since his directorial debut, Moon(2009). I have tried to take insight from Duncan's experiences to inform my path. Jones graduated from the London Film School in 2001 and then worked in advertising doing visually effects lead commercials. Duncan used these experiences to accurately project his visual effects visions, making his Moon film budgeted at around $5,000,000 look like it cost 10 times as much. He followed up with Source Code (2011) and the big budgeted, War Craft (2016). Now he is teaming up with Netflix to finally realize his story for Mute.
Enter Duncan's Jones Mute (2018):
The Visual Effects Pipeline is a fascinating subject for me and something that is a little difficult to wrap your head around at first. However, coming from the world of film production workflow getting up to speed is achievable quite quickly. Andrew Whitehurst does an amazing job at breaking down each part of the process and making things clear for everyone to understand.
Enter Andrew Whitehurst:
I get asked a lot of questions about how a VFX studio is structured and what each department does. This not entirely surprising as there are many departments with a great deal of interdependence and they often have names which are unhelpful to the layperson. What I'm going to try and do in this article is to go through the stages of production, what they mean and then look at each department in a facility, where they fit into the schedule, what they do and who they deal with. Let's get started:
From its inception, “Dunkirk” was never meant to be a VFX-intensive World War II depiction of the legendary evacuation from Northern France. Rather, Christopher Nolan’s plan was to shoot almost everything with IMAX cameras, and seamlessly combine VFX elements to deliver the immersive, doc-like action.
And with Andrew Jackson (“Mad Max: Fury Road”), Nolan found the right visual effects production supervisor to oversee the project with Double Negative. On Saturday, at the Academy’s annual “bake-off,” Jackson will make the case why “Dunkirk” deserves a nomination. “Chris avoids full CG shots as much as possible and uses live-action elements as much as possible,” he said. “The mandate was to combine visual and special effects and make it look gritty.”
The Academy of Motion Picture Arts and Sciences has announced the 20 films still in the running for this year’s Oscar for Best Visual Effects. The shortlist includes Christopher Nolan’s “Dunkirk,” Guillermo del Toro’s “The Shape of Water,” and Rian Johnson’s “Star Wars: The Last Jedi.” Superhero tentpoles “Wonder Woman,” “Logan,” and “Thor: Ragnarok” also made the cut.