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!

Ryan Coogler is the New Steven Spielberg: ‘Black Panther’ Cements the Rise of Hollywood’s Commercial Auteur

Ryan Coogler is the New Steven Spielberg: ‘Black Panther’ Cements the Rise of Hollywood’s Commercial Auteur

From Sundance breakout to Hollywood A-lister in five years, Coogler's rapid rise speaks to a major industry shift.

Five years before he made the world’s most culturally significant blockbuster with “Black Panther,” Ryan Coogler was at the Sundance Institute’s Screenwriters Lab, workshopping his first feature “Fruitvale Station.” The five-day gathering overlapped with Martin Luther King Jr. Day; on that morning, lab coordinator Michelle Satter invited fellows to share thoughts about its significance over breakfast. Until that point, Coogler struck many other participants as a quiet, soft-spoken young man. Then he stood up. 

“He gave this beautiful, deeply felt, and completely extemporaneous speech about how Dr. King’s legacy inspired him as a storyteller,” recalled David Lowery, who was then developing “Ain’t Them Bodies Saints” at the lab. (Like “Fruitvale,” it would premiere at Sundance a year later.) “It was an incredibly moving testament, both personal and all-encompassing in its scope, and we all heard the voice that has since been resonating so powerfully in Ryan’s work.” 

‘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):

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.

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:

‘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.”

Oscars 2018 VFX: Blade Runner 2049 on the Short List

Oscars 2018 VFX: Blade Runner 2049 on the Short List

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.

Netflix Series "Mindhunter" Post Production Process

Netflix Series "Mindhunter" Post Production Process

With each new project, David Fincher mesmerizes audiences with his unique storytelling and visual style. His latest project, the 10-episode Netflix series "Mindhunter", is no exception.

One of the keys to David Fincher’s success is a talented post-production team that shares his work ethic, passion for filmmaking, and willingness to push boundaries. Peter Mavromates has served as a producer and post-production supervisor on multiple Fincher projects, while Editors Kirk Baxter and Tyler Nelson, along with Assistant Editor Billy Peake and In-house VFX Compositor Christopher Doulgeris, are all veterans on the team.

Watch: 25 Creative Transitions from 'Stranger Things 2'

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"Stranger Things 2" does so much right, including its clever transitions.

Stranger Things is one of the most-watched Netflix shows in their original programming line-up, and it's not difficult to see why. The incredible acting (especially that of the young cast), dynamic storytelling, and beautifully moody visuals all contribute to creating its hugely popular 80s-themed sci-fi horror universe, but there's one facet of the show's filmmaking that some may not have noticed but totally should: its scene transitions.

In yet another excellent supercut, Zackary Ramos-Taylor shows us how creators The Duffer Brothers, as well as the show's directors, DPs, and editors, used clever scene transitions to not only tell more dynamic stories but to also add style and build tension.

Warning: Spoilers ahead!

‘Blade Runner 2049’: How VFX Masters Replicated Sean Young as Rachael

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One of the great surprises of “Blade Runner 2049” was a stunning CG recreation of the Rachael replicant played by Sean Young in the original movie. The two-minute sequence brings an emotionally stirring reunion with Harrison Ford’s Deckard that required technical virtuosity and subtle performance. This major step in digital human animation should be rewarded with a VFX Oscar nomination.

Body double Loren Peta played the young Rachael (in costume, makeup, and with dotted face) and performed on set with Ford and Jared Leto (as replicant manufacturer Wallace). She was directed by Denis Villeneuve, with Young on set as well for reference. The goal was to merge the two into a perfect replica.

Blade Runner 2049 - Black Out 2022 Anime Short from Japan

In 2022, an EMP detonation has caused a global blackout that has massive, destructive implications all over the world. Directed by Cowboy Bebop and Samurai Champloo's Shinichiro Watanabe, Blade Runner Black Out 2022 is a new and highly-anticipated animated short which serves as a prologue for the upcoming feature film Blade Runner 2049.

-- Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years.

From executive producer Ridley Scott and director Denis Villeneuve, #BladeRunner2049 stars Ryan Gosling, Harrison Ford, Ana De Armas, MacKenzie Davis, Sylvia Hoeks, Lennie James, Carla Juri, Robin Wright, Dave Bautista and Jared Leto.