Sentences with phrase «creature effects from»

No, the only thing Matthijs van Heijningen Jr.'s (son of Matthijs van Heijningen, the IMDb helpfully informs) The Thing - quel does is mill around tepidly while demonstrating that Rob Bottin's seriously fucked - up creature effects from the original lose their soul when squeezed through the mainframe of a giant computer.

Not exact matches

Taking a cue from the original «Star Wars» trilogy, «The Force Awakens» relied mostly on practical effects — except for Lupita Nyong «o's character, Maz Kanata, a creature created with motion capture.

It was while researching recession and its effects for clients, that Collin discovered some books — «The Creature from Jekyll Island: A Second Look at the Federal Reserve» — by G. Edward Griffin and economic forecasts — by libertarian author — Ron Paul.

To effect this synthesis the creature must enjoy its own intrinsic creativity distinct from the divine creativity it objectively receives.

But their major effect would have come from radiation, which the KU astrophysicist said would have packed doses equivalent to one CT scan per year for every creature inhabiting land or shallower parts of the ocean.

After the outside lot, we returned inside, to displays of all the amazing creatures and special effects from the movies, various scale models of different sets, and then, one of the parts I had been most excited about — we walked up Diagon Alley!

Spellbinding... Blends intelligent writing, seamless special effects and more wonderful creations from Jim Henson's Creature Shop.

This documentary from National Geographic takes a super in - depth look at the mysterious creature the Blue Whale, exploring how the effects of currents on the ocean floors influence the ways the massive creatures travel and eat, and even examining the animals» DNA.

With dazzling special effects, some very creepy spider creatures and a great story, this makes Minority Report a welcome change from overly sentimental work that has recently been churned out by Spielberg.

Here we hear from Rick Porras, Peter Jackson, Richard Taylor, Barrie Osborne, Ben Wootten, John Howe, Jamie Beswarick, Mark Ordesky, Weta senior animator Jason Schleifer, actor Andy Serkis, Christian Rivers, animation designer and supervisor Randy Cook, visual effects DP Brian Van't Hul, Elijah Wood, Sean Astin, Weta creature facial lead Bay Raitt, Weta visual effects supervisor Joe Letteri, motion capture supervisor Remington Scott, visual effects supervisor Jim Rygiel, Weta systems architect Jon Labrie, visual effects producer Dean Wright, Philippa Boyens, Weta animation department head Adam Valdez, animation supervisor Richie Baneham, Warren Mahy, Weta 3D sequence lead Ken McGaugh, and Gino Acevedo.

There is plenty of rehashed old well known dialog from the first two classic movies, similar shots of the creatures, similar jump moments, the same classic sound effects etc...

«Don't Be Afraid of The Creatures» covers the visual effects that bring to life the film's villainous beings, from sculptures and design to the different stages of CGI.

The score from Alexandre Desplat has a timeless feeling to it; it's endlessly charming when it needs to charm, electrifying when we're required on the edge of our seat; Paul D. Austerberry's production design is aces, the film drowns in this ocean blue, soaking wet aesthetic that emanates this sensual but creepy world; and the creature design is nothing short of righteous, a perfect throwback to the era of practical effects reigning supreme that uses just the right intermitted splashes of CGI.

Ditto the visual effects, from a great battle with sand creatures to a struggle with some kind of a sea serpent.

Everyone's favourite characters, much of the surreal narration (delivered with perfect dryness by Stephen Fry), and the original's distinctive theme music, are all present and accounted for — and in an age where CGI has become the slick new medium for special visual effects, an inordinate amount of physical modelling and creature puppetry have been used to give the film a refreshingly organic retro look, as though the crew from the original TV series had been lured back to their old tools by a much bigger budget.

There are tons of great interviews with every key figure in the Turtles» evolution including co-creators Kevin Eastman and Peter Laird, animation legend Fred Wolf, creature effects maestro Brian Henson, and even Vanilla Ice, who made my made the song «Ninja Rap» from the film «Teenage Mutant Ninja Turtles II The Secret of the Ooze».

Titled Hunter Prey, it clearly draws influence from both Star Wars and Predator, along with Collora's background in creature effects.

The intent was obviously to mimic the «Underworld» films, and it shares a lot of the same DNA as the horror / fantasy series, from its gothic visual cues, to the creature effects, to Bill Nighy as the big bad.

* Asked how he feels about going from very small indie films to a massive, effects - driven fantasy / comedy, Green said: «Well, just like probably all of you guys like to see different kinds of movies every week — a little of this, a little of that — it's fun professionally to, like, get in the ring and design creatures and have guys in suits and puppets and just, y ’ know, bring in all this stuff... I remember when I was a kid, and if something like «Behind The Scenes of Return of The Jedi» would come on, I'd just be glued to the screen, wishing that one day I'd be able to get my hands dirty doing something like that.

But if the panel lacked for concrete fan information, it was filled to the brim with grade - A fan service, with Abrams going out of his way to emphasize the movie's focus on practical effects over CGI work, up to and including bringing out that camel creature — whose name, «Baba Joe,» scores a disappointingly low «3» on the Star Wars Stupid Naming Scale — from the charity video he released last year.

In the latter category, we hear from director Reitman, actors Jones, Duchovny, Scott, and Julianne Moore, executive producer Tom Pollock, producer Daniel Goldberg, visual effects supervisor Phil Tippett, and art director of creature effects Pete Konig.

It provides info from Spielberg, Lucas, ILM digital artist Paul Huston, ILM animation supervisor Steve Rawlins, ILM digital model supervisor Dave Fogler, ILM view paint supervisor Steve Walton, ILM digital compositing supervisors Sean MacKenzie and Jay Cooper, visual effects supervisor / aerial unit / unit director Pablo Helman, ILM digital matte supervisor Richard Bluff, Kerner Optical model supervisor Brian Gernand, ILM lead TD supervisor Craig Hammack, ILM associate visual effects supervisor Marshall Krasser, ILM digital production supervisor Jeff White, ILM creature and simulations supervisor Eric Wong, Kerner Optical lead model maker Nicholas A. D'Abo, and ILM visual effects art director Christian Alzmann.

In addition to movie clips and material from the set, we hear comments from Jackson, actors Wood, Astin, McKellen, Brad Dourif, Lee, Hill, Urban, Mortensen, Rhys - Davies, Otto, Monaghan, Boyd, Serkis, visual effects supervisor Richard Taylor, supervising sound editor / co-sound designer Ethan Van Der Ryn, producer Barrie Osborne, supervising art director Hennah, conceptual artists Alan Lee and John Howe, digital model supervisor Matt Aitken, director of animation Randy Cook, visual effects supervisor Joe Letteri, creature supervisor Eric Saindon, executive producer Mark Ordesky, stuntman Sala Baker, creature facial lead animator Bay Raitt, and co-producer Rick Porras.

They provide notes from author / artist Frank Miller, writer / director Zack Snyder, producers Gianni Nunnari, Bernie Goldmann, Deborah Snyder and Mark Canton, editor Bill Hoy, historians Bettany Hughes and Victor Davis Hanson, creature effects Mark Rappaport, DC Comics group editor Bob Schreck, production designer Jim Bissel, VFX supervisor Chris Watts, composer Tyler Bates, screenwriter Kurt Johnstad, director of photography Larry Fong, creature and special makeup effects supervisor Shaun Smith, assistant stunt coordinator / fight choreographer Chad Stahelski, stunt coordinator Damon Caro, comic book creator Neal Adams, DC Comics president / publisher Paul Levitz, and actors Gerard Butler, Lena Headey, Dominic West, Vincent Regan, David Wenham, and Rodrigo Santoro.

A slightly hour - plus - long documentary, divided into five 10 - 15 minute segments, comprehensively covers the film's making from conception to production, with a large amount of time spent on the elaborate digital and practical creature effects.

Creature effects should be a combination of CGI and makeup, similar to Mr. Hyde from the League of Extraordinary Gentlemen movie of a few years ago.

«The Host» The conceit is banal: lazy, bureaucratic scientists pour toxic formaldehyde into Seoul's Han River, causing a mutant creature to develop from the chemicals, ravaging the city and effecting one unlucky family.

There's still plenty to like aside from Big Red, though: Del Toro builds in much of the comic's backstory, while the HP Lovecraftian creatures combine puppetry and pixels to spectacular effect, channelling Mignola's art to paint each frame with a singular style.

From there, we predict a spot for The Shape of Water and its remarkable sea - creature leading man, plus the futuristic wonder of Blade Runner 2049 — and then a little bit of room for the practical effects and achingly realistic military might of Dunkirk.

At Creature Comfort, we offer anesthesia - free dental procedures (handscaling) for pets that are at a risk from the often minor potential side - effects from anesthesia.

What's also interesting to note is that designer Tim Schafer's imitable style is very much in effect with subtle similarities from Schafer's previous games like Grim Fandango and Psychonauts popping up in the creature models and overall aesthetic of the game.

Some of the particle effects that come out of the creatures look a little bit dated as if they came from a PS2 title, but that's overshadowed really by the remarkable environments around you.

Aside from Mass Effect Andromeda, Bioware is working on an «exciting» new IP that might well involve «believable characters», humanoids, creatures, and mechanical forms.

Many of these are exceedingly rare, and one - the Seal of Metatron from Silent Hill: Revelation - is one of a kind and was custom made by the special makeup & creature effects designer on the movie, Paul Jones.

Storytelling aside, it's obvious that a great amount of care went into crafting each season mode: switching seasons changes everything from the color palette to the sound effects (and even the behavior of other creatures).

The video installations feature female sea creatures, similarly overwrought by their environments: one a mermaid expelling oil - like substances from a tangle of detritus; another, inspired by selfie videos shared on social media platforms, poses for the camera, her face and body layered with Snapchat - like filters and special effects.