Archive for the ‘filmmaking’ Category

Great Visual Effects Films For Kids

Thursday, January 3rd, 2008

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Those of us blessed enough to have children know what a struggle it is to have to sit through agonizingly long hours of the pure crap that passes for kids entertainment these days. VFX pros also know how hard it can be to describe to young people exactly what it is that Mommy or Daddy do at work every day. To top it all off, a lot of the time the stuff we do work on just isn’t appropriate for the eyes of innocents. To that end, here’s a list of five of my favorite VFX flicks that you can watch with your kids and hopefully get them interested in finding out more abot the craft. By the way, if your children are really interested, I could always use some help with roto.

The Wizard of OZ – 1939 (Unrated)

Why it’s great It’s the one that started it all. Matte Paintings, wire work, make-up, pyro and much more combine to create a fully realized fantasy world.

You might want to skip Parents of male children might want to gloss over some of the more sappy musical numbers for fear of creating an “over-attachment” to Judy Garland. Not that there is anything wrong with that.

Prepared to be annoyed by High-pitched little people singing peppy songs. Not quite that bad compared to the insanity inducing Alvin and the Chipmunks (2007) but close.

Mary Poppins – 1964 (G)

Why it’s great Shear volume of innovative VFX techniques. Sure there is quite a bit of piano wire and bungee chord practical type stuff but you can also see some choice matte painting work and compositing on the “Jolly Holiday” sequence still holds up. DVD extras on the 2004 DVD include an informative “deconstructing a scene” section.

You might want to skip The song “Feed the Birds” is a about a homeless woman who tries to sell you groady bird seed to feed diseased pigeons. You should probably teach your kids to steer clear of such folk.

Prepared to be annoyed by… Dick Van Dyke’s “english” accent. In some scenes I swear I can see Julie Andrews wince.

Star Wars Episode V: The Empire Strikes Back – 1980 (PG)

Why it’s great What’s not to like? Stop Motion, Motion Control, Yoda, Solo in Carbonite, this one is firing on all cylinders. Tons of techniques to explore with interested young ones. 2004 DVD comes with the Ken Burns Directed doc “Empire of Dreams” to get you into the behind the scenes mood.

You might want to skip The Wampa. It freaks out some youngsters, especially in the special edition. Luke’s kiss with Leah might bringup some tough questions.

Prepare to be annoyed by Billy Dee’s ‘stash. It’s almost like you want to slap it right off his face.

Apollo 13 – 1995 (PG)

Why it’s great Incredible example of effects that look real, lots of great CG and compositing to obsess over. 2-Disk Anniversary DVD includes documentary footage of the real space race for comparison. Heck the kiddies might even learn something from this one.

You might want to skip All the scenes of the worried hair-dos back on planet earth. For your convenience, the 2-Disc set has a shorter version of the movie originaly made for IMAX with the back at home cut-aways removed.

Prepared to be annoyed by Repeated use of the phrase “Huston, we have a problem” by your kids to announce everything from potty related accidents to unintentional glass breaking. Wallace & Grommit: The Curse of the Were-Rabbit – 2005 (G)

Why it’s great The amount of character that this film squeezes out of a couple of lumps of clay must be seen to be believed. The Rube Goldberg contraptions are great launching pads for discussions of cause and effect and timing in animation. The simple yet extremely effective composition and lighting in this film is also something the deserves a close look.

You might want to skip You should probably skip the movie all togther if you are worried that this film might be a gateway to more British humor. If your kids like this I see lots of Monthy Python and Black Adder in your future.

Prepared to be annoyed by Puns. “Anti-Pesto”, “24-carrot” bullets, “PC Mackintosh” it sends chills up my spine just writing these.

Have a fav of your own? Feel free to leave comment and tell us what is is.

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Cinema Blend Blogger “Hulks Out” On CGI

Thursday, December 13th, 2007

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Josh Tyler over at cinemablend.com has posted a scathing rant on Hollywood’s ever increasing reliance on visual effects to put butts in the local multiplex (lemme tell ya’ they’re not coming for the stale popcorn). Tyler calls today’s filmmakers “lazy” amongst other things for leaning to heavily on CGI when they should be spending the time and effort to shot real stuff like they used to. As Josh puts it “Why bother to spend time planning anything, when you can just send in a bunch of nerds on computers and have them fix everything?” Now I’m not the guy to blindly defend to overuse of VFX in the film industry today. Just check out the opinion category on the Blog if you need confirmation. But I think Josh kinda goes a bit too far in laying all the failings of the art of cinema today on a handful of overzelous digital monkeys. It’s the marketing machine that requires (nay demands!) that each blockbuster be bigger and badder assed than the last. Can you really see a big studio springing the cash to put up posters in every city, town, village and hamlet from San Francisco to Baltimore for a movie with Transformers made from muppets instead of CG? Even though Tyler’s rant is oversimplified and misdirected in its critism, (isn’t that the definition of a rant?) I can agree that all the big Hollywood tent-poles have become exhausting to look at. Do I really need to put that much energy into getting emotionally connected to a talking Polar Bear? The fact is you can’t really blame VFX guys for this, they’re just trying to cover up for bad writing. Just like Ice T said “I don’t know why a player wanna hate T, I didn’t choose the game, the game chose me”. Awwww, yeah.

LINK to rant on Cinema Blend (via VFXPlanet)

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Gabriel Köerner: Professional Fanboy

Thursday, December 6th, 2007

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Gizmodo posted today about some fan art for a redesigned Starship Enterprise that has been presented as leaked artwork for the new Star Trek film. The images in the article were created by the one and only Gabe Köerner who I’ve worked with in the past and is known throughout the industry as quite the character. You may recognize Gabe as “That Trekkie Kid” from the docu-nerdfests Trekkies and Trekkies 2. The post also contains a classic interview with Gabe that just makes you laugh at what happens when you let a typical VFX artist off-leash. Here’s a taste…

The prongs on the front of Syd Mead’s Sullacco from ‘Aliens’ gave me the idea for the deflector dish. If the rest of the ship was graceful curves, the deflector is the ‘asshole’ of the ship, the part that no matter how sexy you are, you still have an asshole.

Amen, brother!

LINK to the whole post on Gizmodo

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Visual Effects War Stories From Back In The Day

Monday, December 3rd, 2007

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One of the greatest pleasures of being part of the VFX industry is getting the opportunity to hear the crew from some of your favorite (or not so favorite) films wax poetic about how it was done before all these new fangled computer thingies. Here’s a comment from Sam Longoria left on my previous post When Not To Use VFX – Step Away From Greenscreen Unitard that falls into the catagory of golden nuggets of wisdom from a bygone age.

On “Ghostbusters,” I remember a meeting, between the camera / machinist group, (We were building 65mm cameras, printers, animation stands, roto rigs from scratch) and the Artist / Animator group. (They were drawing animation that would – hopefully – be shot on equipment that didn’t exist yet). In hindsight, there nowhere near enough time and money to pull it all off. Any sensible persons would have had doubts, but…vfx people…you know. An earnest Animator (I think it was Terry Windell) said, to the camera designers, “We need an electronic device that will close the camera shutter, block all the light, and prevent the film from being exposed, while the computer backwinds the film.” It was quiet in the room a good while. The device they were describing would probably take a week to build and implement, and we had very little time. I was young then, and didn’t want to say anything, certainly not anything that would tick off my colleagues, or hurt the Animators’ feelings. We all looked back and forth at each other. Smiles began to waver. Then Jerry Jeffress, one of the truly brilliant human beings I’ve ever met, broke the silence. “What you are describing, is a lens cap.”

Got your own war story to tell? Leave a comment! Oh, and it doesn’t have to be old to be good.

LINK to Sam Longoria’s filmmaking blog

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Hey Kids! Wanna Roto? – A Visual Effects Kit For Future Compositors

Friday, November 30th, 2007

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Rip Roar Media has created their entry in the One Greenscreen Per Child program with it’s Creation Station, an all-in-one VFX set-up for kids. Although it is a noble pursuit to try and get the youth of today creatively involved in projects other than trying to make it to the advanced level of Guitar Hero, this product is as silly as a circus clown. I’d bet every parent who has the $130 (retail) it would take to buy this thing would also have a consumer video camera laying around the house that hasn’t been used since the kids 1st birthday. The greenscreen that comes with the kit is also a rip-off considering Make magazine has a link to a great tutorial on it’s website on how to make an awesome Green/Blue screen out of fabric and PVC pipe for $16. That leaves $114 to spend on a tripod and some lights (work lights from Home Depot work great) with plenty of dough left over for chicken nuggets and a bouncey castle for the friends your kid will invite on their VFX playdate. Word out is that the software included with this product is also bunk especially when you consider the free open source alternatives out there like Jahshaka. Don’t be fooled by corporate America youngins, join the jrHack club today!

 

LINK to the DYI greenscreen article

LINK to Jahshaka homepage

Thanks to Nyarlathotep for the heads-up

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The Visual Effects Budget – A Study Of Pure Evil

Thursday, November 8th, 2007

If any VFX Supe tells you that they like budgeting shows they are lying. I have yet to meet the visual effects guy (or gal) that got into the biz because they love working with Excel spread sheets. Alas, budgets are a necessary evil. Scott Squires’ highly informative blog Effects Corner posted a very complete overview of the VFX budgeting process. I thought I’d throw my $0.02 into the ring, focusing some of the finer points Mr. Squires may have glossed over. 

Don’t pitch in the budget- The time to spitball ideas for cool ways of shooting VFX is in a Visual Effects concept meeting. If you start budgeting David Lean effects on an Ed Wood budget without clearing it with the powers that be first, you could be in for a world of hurt later on. This is especially true when you are working on monetarily challenged projects. You want to make sure you give your client creative solutions that fit in their budget, not try to force them to do something that they can’t afford and will look like crap because they ran out of dough.       
Break out your assets – Say you have a sequence of shots where a giant ghost pirate attacks a cruise ship filled with trans-gender cheerleaders (Mr. Bruckheimer this script is available for an option). You have two choices, first you could split the cost of building the CG pirate and cruise ship over the shots. Or you could budget the cost of building the re-usable CG models and rigs (also known as assets) seperately. The second choice is the only way to go in my opinion. If you bury the cost of an asset over several shots you are opening yourself up to big trouble down the line when those shots get trimmed. In this case, every time a shot is cut a piece of your asset budget goes with it. Having a sub-budget for the pirate and cruise ships sets aside the build cost and protects that part of the budget from changes in the individual shots.
Explain everything- Most budget related conflicts arise from from a lack of understanding about what is actually required from the shot. The client may want a simple 8 frame snap zoom done in comp when you bid for an entire CG city fly-through. To a certain extent these misunderstandings are inevitable, but a clear and to-the-point explanation of what you plan to do for each and every bid item is a must to keep confusion to a minimum. Be careful though, if your description of a shot gets too fancy it may cause the dreaded vfx-eye-glaze to form on your client. 
Think of the artists- When you bid it’s best that you have a specific team of individuals in mind that know well. Some artist can take take 3 or 4 times as long to do a certain type of shot than another. Knowing what team you are using and what their strengths and weaknesses are is crucial to getting you bid hours right. Thinking of the artists also means doing a gut check to make sure that you are not burning your people out. This is a flat bid business and once a price is agreed on, it’s essentially locked. Nothing will cause a crew to mutiny faster than having to work on a shot that was bid for two days and actually takes twelve to complete.
 

LINK to Budgeting VFX on Effects Corner 

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RetroHack – Triple I TRON Test

Saturday, October 27th, 2007

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This compilation reel from the folks at Information International Inc. (aka Triple I) was shown to Disney Execs in 1981 and resulted in the go-head for the classic CG flick TRON. The demo includes a Mercedes Benz logo, a scan of Peter Fonda’s head and Adam Powers’ classic short “The Juggler”. Most of this imagery was rendered on the Super Foolny F-1, the fastest and most advanced computer of it’s time. Triple I ended up being one of the three CG houses (Robert Abel and Assoc and Magi were the other two) to work on TRON helming the Solar Sailer and MCP sequences among others.

LINK to the Triple I page on TRON Sector

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When Not To Use VFX – Step Away From Greenscreen Unitard

Monday, October 15th, 2007

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This funny (and old) clip from the BBC series Time Trumpet reminds me of two excellent points…

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  1. Many VFX shots today are completely unnecessary. From green screen comps that could easily have been  done on a location to CG elements that take months to perfect but could have put on film in an afternoon, the  business is completely out of control. The powers that be would much rather push everything off on a VFX company that they can rake over the coals after production has wrapped than spend a few extra pennies up front to get the job right.
  2. The green screen unitard will go down as one of the most awkwardly hilarious things in film-making history.

LINK to the Time Trumpet clip

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Me On The Interwebs

Friday, October 12th, 2007

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I gave a quite lengthly interview to the good folks over at the Fractal Matter blog. It mostly covers the work done for the new FOX series based on the Terminator, The Sarah Connor Chronicles. The piece also lets me ramble on a bit about my philosophies regarding creating cool effects for TV shows. Take a peek!

LINK to the interview

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Wicked Cool Animation on a Real Wall

Tuesday, September 25th, 2007

Extremely well done (and disturbing) animation created by a series of drawings on a wall by Blu.

LINK to the Blu Blog

thanks to Azathothx

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