BOO WONG has been promoted to head the CGI Department atCurious Pictures, the bi-coastal, live-action, graphics, special effectsand animation studio, it was announced today by Executive Producer/Head ofProduction Richard Winkler. Wong, 33, succeeds Tammy Walters, who recentlyleft the company to pursue a career as a producer. In her new post, Wongwill be responsible for the overall operation of the CGI departmentincluding scheduling, media flow, resource management, evaluation and
Tagged With: Effects
PDI has named producer/director Don McBain as Visual Effects Producer for its Commercial and Feature Film Effects Division. McBain's credits include Production Supervisor for the STARSHIP TROOPERS Miniature Unit, the crash sequence for MONEY TRAIN, and line producer/production manager for 25 projects at Sony Pictures Imageworks, as well as making the independent, experimental Imax film, FIRE.
Michael Geisler, sound effects editor and designer, discusses the elements of successful sound design and the considerations that must be taken when approaching a project.
PDI has hired Arnauld Lamorlette, 34, formerly vice president and director of R&D at the Paris-based studio Buf Compagnie, to join PDI's visual effects team. Lamorlette has been named a Senior Visual Effects Developer on SHREK. Aron Warner, SHREK producer, said, "He has been brought on to PDI's team to oversee the creation of computer-generated human characters and the rich organic world they will inhabit in SHREK.
Adobe Systems has began shipping Adobe After Effects 4.0, the latest version of the software tool for motion graphics designers and visual effects artists. Highlighting this release is tighter integration with other Adobe applications (e.g. Premiere, Photoshop, Illustrator).
The Visual Effects Society (VES) is presenting the first "VES '99: A Festival of Visual Effects" which will take place June 4-6 at the Leonard Goldenson Theater of the Television Academy. The event is designed to provide an annual platform for sharing creativity and common interests in the production of visual effects for the entertainment industry. The three-day program includes a series of seminars presented by Industrial Light & Magic (ILM), Jim Henson's Creature Workshop and Sony Pictures Imageworks among others.
The Little Black Book of Visual Effects is a listing of contact information for people, studios and other companies related to the visual and digital effects production fields and receives nothing but praise from Paul Younghusband.
Eric Huelsman meets Jerry Steele, Charlie Watson and Michel Gondry, three leading artists who lurk behind the latest and greatest commercials and music videos.
At the MacWorld Expo in San Francisco, Puffin Designs announced version 2.0 of its award-winning visual effects software Commotion. Commotion 2.0 is expected to ship around April this year, and will expand Commotion's current creative tool set with third party plug-in support, a new FX Brush for creating texture and stylized media brush effects, and new text creation and animation tools. Puffin Designs' founder and ILM visual effects supervisor Scott Squires commented that, "Commotion users have completed several challenging projects in recent months.
Puffin Designs, the producers of the award-winning compositing system Commotion, recently introduced Knoll Lens Flare Pro Conductor for Alias|Wavefront Maya Composer. The new version, developed by John Knoll, a Visual Effects Supervisor at Industrial Light and Magic, will give users the ability to create realistic sunflares, lasers, flames, bursts, explosions, and "photon torpedoes," among other effects. The plug-in is already available for Adobe After Effects, Adobe Photoshop, ElectricImage, and Discreet Logic Flint/Flame/Inferno.
Animation and visual effects house Pacific Data Images (PDI) has appointed industry veteran George Merkert as Executive Producer of the Motion Picture Visual Effects division. This decision comes on the heels of PDIs announcement of their intention to grow their operation and core business capabilities beyond its present size and scope, and to further develop its traditional animation/visual effects support work with a new emphasis towards content creation.
Los Angeles-based Industrial Light & Magic Commercial Productions (a division of ILM parent, Lucas Digital) used animated visual effects in a commercial for First Union. Live actors were composited with a 3D CG environment featuring a floating piggy bank, animated money and other exaggerated elements of the finance world. The production team included director Steve Beck, visual effects supervisor George Murphy and CG lead Tim Stevenson.
UCLAs School of Theater, Film and Television has appointed ROBERT ROSEN dean, replacing Gil Cates, who stepped down from the post last year but remains a member of the faculty. Rosen was promoted internally from the position of dean of the Film and Television School, a division of the Theater, Film and Television School (including the Animation Workshop). He has worked at UCLA since 1975. . . . Filmmaker JAMES CAMERON and effects master STAN WINSTON have resigned from the board of directors of the Venice, California-based effects studio they co-founded five years ago, DIGITAL DOMAIN.
Fred Patten reviews the latest anime releases including: Harlock Saga, Angel Links, Assemble Insert, Hermes: Winds of Love and Nadia: The Secret of Blue Water.
3-D animator Bill Fleming details the development of technologies for animating fur and hair in computer animation.
Visual effects artist Marian Rudnyk describes the rotoscoping process used for the creation of atmospheric effects in the Oscar-winning feature film, Titanic
How did they create Jack and Rose's frosty breath? Marian Rudnyk describes the rotoscoping process that was used to bring the Titanic experience to life.
A survey of animation and visual effects artists, asking, "What" ten animated films would you want to have with you if stranded on a desert island?
Robert Abel's keynote speech was one of the highlights of the World Summit for Feature Films and Visual Effects. Photo by and © Craig Skinner/Celebrity Photo, courtesy of WAC.Over the course of two days and six panel discussions, some of the most influential people in live-action effects and animation shared their views on where they think the animation industry is today and what its direction will take in the future. These panels marked the first meeting of the World Summit for Feature Films and Visual Effects. The summit is a new annual event being offered as part of the World Animation...
John Parazette-Tillar takes us to the Digital Video Conference and Exposition, where he leads us through the classes and shows us what's new.
The worlds of live-action and animation are meeting in today's effects-driven blockbusters. Christopher Zack investigates how this is influencing the craft of screenwriting.