Understanding the Visual Effects Pipeline

Understanding the Visual Effects Pipeline

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.

Deconstructing the Cinematography of Blade Runner

Deconstructing the Cinematography of Blade Runner

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.

Blade Runner Takes Home Oscar for Best Visual Effects

Blade Runner Takes Home Oscar for Best Visual Effects

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!

‘Mute’ First Trailer: Duncan Jones Goes Back to the Future For ‘Moon’ Spiritual Sequel

‘Mute’ First Trailer: Duncan Jones Goes Back to the Future For ‘Moon’ Spiritual Sequel

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):

‘Dunkirk’: How Christopher Nolan’s Visual Effects Team Pulled Off Realistic Dogfights and More Gritty Action

‘Dunkirk’: How Christopher Nolan’s Visual Effects Team Pulled Off Realistic Dogfights and More Gritty Action

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.”