Sentences with phrase «effects artists from»

Raimi and his competent crew, which includes composer Danny Elfman (patching up a decade - old rift with the director), cinematographer Peter Deming (The Cabin in the Woods, Mulholland Drive, and Mike Myers comedies), make - up effects artists from The Chronicles of Narnia and visual effects veterans of Marvel hits, deliver a film that is lively, polished, and picturesque,

Not exact matches

This artist's impression shows how photons from the early universe are deflected by the gravitational lensing effect of massive cosmic structures as they travel across the universe.

Across its whole sweep — which in retrospect now does seem genuinely epic — the Harry Potter series offers one ravishing special effect no digital compositor or makeup artist can match: the opportunity to see the three leads, Radcliffe, Watson, and Grint, age from adorably buck - toothed 11 - year - olds into young men and women toward whom the audience now feels an oddly avuncular pride.

Pacific Rim could learn a lot from Edwards» skills as a visual effects artist.

Fans will also hear from the team of talented visual effects artists on how they created one of the film's most exciting scenes in «Attack of the Rhinos!»

Besides just beautiful pretty things to look at this book also includes commentary from the actors, artists, digital effects specialists, and many other crew members talking about the items displayed.

We find notes from director Peter Jackson, extras wrangler Josie Leckie, director of photography Andrew Lesnie, camera operator Richard Bluck, armour weapons standby John Harding, greens master Brian Massey, co-producer Rick Porras, designer / sculptor Daniel Falconer, senior machinist / engineer Dominic Taylor, animation supervisor Randall William Cook, stunt performer Steve Reinsfield, extras casting Miranda Rivers and Victoria Cole, painter Brett Larsen, carpenters Geoff Goss and Ross Hoby, supervising unit location manager Richard Sharkey, 2nd AD Marc Ashton, stunt performers Mana Davis and Sala Baker, 2nd unit director Geoff Murphy, boom operators Eoin Cox and Corrin Ellingford, on set art director Simon Bright, camera operator Peter McCaffrey, motion control operator Henk Prins, previsualisation supervisor Christian Rivers, digital surveyor Nick Booth, stable foreman Lee Somervell, gaffer David Brown, set finishing supervisor Kerry Dunn, on set art director Joe Bleakley, effects technician Peter Zivkovic, on set prosthetics makeup Tami Lane, 3rd AD Chris Husson, Weta Workshop's Richard Taylor, effects technicians Darryl Richards and Scott Harens, stunt rigger Paul Shapcott, New Zealand stunt coordinator Kirk Maxwell, swordmaster Bob Anderson, medic and safety officer Andy Buckley, supervising art director Dan Hennah, conceptual artist Alan Lee, Gimli scale double Brett Beattie, and actors Dominic Monaghan, Billy Boyd, Andy Serkis, Bernard Hill, Brad Dourif, Elijah Wood, Orlando Bloom, Sean Astin, Miranda Otto, and Viggo Mortensen.

«The Soundscapes of Middle - earth» lasts 21 minutes and 25 seconds as it presents remarks from Peter Jackson, Barrie Osborne, Rick Porras, Christopher Lee, Mike Horton, Mark Ordesky, supervising sound editor / co-designer Ethan Van der Ryn, supervising sound editor Mike Hopkins, ADR recordist Chris Ward, sound designer David Farmer, re-recording mixers Chris Boyes and Michael Semanick, foley artists Simon Hewit and Phil Heywood, sound effects editor Brent Burge, and foley engineer Martin Oswin.

Positions that the developer is seeking to fill remain unchanged from last year when they were looking to expand, including roles such as programmers, planners, 3D CG artists, 2D designers, effect designers, motion designers and office staff.

Still Gallery — Behind - the - Scenes photos from special make - up effects artist Kenny Myers» personal collection

Extras: New 4K scan from the original film elements; new audio commentary with writer - director Albert Pyun; new «A Ravaged Future — The Making of Cyborg» featuring interviews with Pyun, actors Vincent Klyn, Deborah Richter and Terrie Batson, director of photography Philip Alan Waters and editor Rozanne Zingal; new «Shoestring Fantasy - The Effects of Cyborg» featuring interviews with visual effects supervisor Gene Warren Jr., Go - Motion technician Christopher Warren and rotoscope artist Bret Mixon; extended interviews from Mark Hartley's documentary «Electric Boogaloo: The Wild, Untold Story Of Cannon Films» with Pyun and Sheldon Lettich; theatrical trailer; still gallery.

«Matilda's Movie Magic» (16:14) allows DeVito and others (including Davidtz, Perlman, a make - up effects artist and a visual effects supervisor) to break down the film's illusions one at a time, with help from behind - the - scenes footage and some graphic illustrations.

Tiersten, now a musician, has one of his music videos bizarrely included, while the rest of the disc consists of a slideshow of behind - the - scenes photos, some more images from effects artist Ed French, a demo of the 2K scanning process, and trailers and TV spots.

Overall, it's standard featurette material, but it reveals a sense of humor on behalf of everyone that supports the idea that no one took this too seriously, and it's worth watching just for effects artist Alec Gillis to drop the bombshell that he went from dressing up dogs on this movie to helping come up with the dog - hybrid xenomorph from David Fincher's Alien 3.

A buzzing music score from Christopher Drake and the exceptional makeup effects by a big team of artists really lend themselves well to the craziness of the picture too.

This doc from the 2003 Director's Cut special edition DVD features comments from Johnson, Arad, Kilkenny, producer Gary Foster, costume designer James Acheson, textile artist Matt Reitsma, art department coordinator Jamie Neese, costume supervisor Lisa Lovaas, Paul Ben - Victor, Joe Pantoliano, action choreographer Master Cheung - Yan Yuen, Jennifer Garner, stunt coordinator Jeff Imada, Ben Affleck, Colin Farrell, Affleck's fight trainer David Lea, director of photography Ericson Core, sight - impaired consultant Tom Sullivan, Jon Favreau, special effects coordinator John McLeod, visual effects supervisor Rich Thorne, Shadow World fx lead Eric Horton, and composer Graeme Revell.

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.

It lasts 15 minutes and 23 seconds and includes remarks from Edlund, Bruno, Windell, technical animator Annick Therrien, visual effects editor Conrad Buff, chief matte artist Matthew Yuricich, model shop supervisor Mark Stetson, chief visual effects cameraman Bill Neil, matte department supervisor Neil Krepela, mechanical effects supervisor Thaine Morris, visual effects still photographer Virgil Mirano, and matte artist Michelle Moen.

We hear from writer / producer David Giler, producer Gordon Carroll, almost - director Renny Harlin, actors Michael Biehn, Carrie Henn, and Sigourney Weaver, story writer / another almost - director Vincent Ward, production executive Jon Landau, production designer Norman Reynolds, storyboard artist Martin Asbury, and additional special effects supervisor Joss Williams.

In this one - hour, nine - minute, two - second show, we hear from Fricke, Ebsen, composers / lyricists Marc Shaiman and Stephen Schwartz, author's great - great - grandson Robert A. Baum, film critic Michael Sragow, film historians Leonard Maltin and Sam Wasson, filmmakers William Friedkin and Rob Marshall, Bert Lahr's son John, actors Ruth Duccini and Margaret Pelligrini, author William Wellman, Jr., costume designer Ruth Myers, makeup artist Charles H. Schram, cinematographer Peter Deming, visual effects supervisor Craig Barron, sound designer Ben Burtt,

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.

Make - up effects artist John Vulich weighs in on the subject in his own eight - and - a-half-minute HD interview short, «Tales from the Crawlspace with John Vulich,» where he recalls the circumstances of the shoot.

During the pitch, the story artist will do all the voices, narrate the actions of the sequence and maybe even play sound effects with a physical instrument (or in the case of the demo we saw, a squeaker toy) or play music from a computer.

NEW Sounds from the Cold — interviews with supervising sound editor David Lewis Yewdall and special sound effects designer Alan Howarth NEW Between the Lines — an interview with novelization author Alan Dean Foster Audio Commentary by director John Carpenter and actor Kurt Russell John Carpenter's The Thing: Terror Takes Shape — a documentary on the making of THE THING featuring interviews with John Carpenter, Kurt Russell, special effects make - up designer Rob Bottin, legendary matte artist Albert Whitlock plus members of the cast and crew (80 minutes — SD) Outtakes (5 minutes — SD) Vintage featurettes from the electronic press kit featuring interviews with John Carpenter, Kurt Russell and Rob Bottin (12 minutes — SD) Vintage featurettes — The Making of a Chilling Tale and The Making of THE THING (1982 — 14 minutes — SD) Vintage Product Reel — contains a promotional condensed version of the film with additional footage not in the film (19 minutes — SD) Vintage Behind - the - Scenes footage (2 minutes — SD) Annotated Production Archive — Production Art and Storyboards, Location Scouting, Special Make - up Effects, Post Production (48 minutes — SD) Network TV Broadcast version of THE THING (92 minutes — SD) Teaser Trailer Theatrical Trailers (U.S. and German Trailer) TV spots Radio Spots Still Gallery (behind - the - scenes photos, posters and lobby cards)

NEW 2K scan of the Inter-positive supervised and approved by director of photography Dean Cundey NEW 4.1 created from the original 70MM Six Track Dolby Stereo soundtrack NEW Audio Commentary with director of photography Dean Cundey NEW The Men of Outpost 31 — interviews with Keith David, Thomas Waites, Peter Maloney and more... NEW Assembling and Assimilation — an interview with editor Todd Ramsay NEW Behind the Chameleon — interviews with visual effects artists Peter Kuran and Susan Turner, special make - up effects artist Rob Burman and Brian Wade and more....

Taking a cue from Garfield Minus Garfield, special effects artist Richard Trammell's digital removal of Tyler Durden from a classic Fight Club scene has been creeping us out since he released the

It is a micro-budgeted film from first time director and visual effects artist Gareth Edwards... and it kicks ass!

Pollak, Nerdist podcast co-host Matt Mira, history professor John Putman, actress Jeri Ryan, NASA engineer Bobak Ferdowsi, and make - up effects artist Doug Drexler sat down at the Leonard Nimoy Event Horizon Theater at the Griffith Observatory in Los Angeles to talk about Trek — the documentary returns to them many times as it moves from the franchise's beginning through the last movie of the original run.

Taking Supreme Leader Snoke from a vague hologram to a physical presence was one of the biggest challenges for the visual effects team on Star Wars: The Last Jedi, and the process was a complex push and pull between the director, the effects artists, and Andy Serkis, who portrayed Snoke in motion capture and voice.

It has everything from a making - of documentary (titled «John Carpenter's The Thing: Terror Takes Shape» featuring interviews with John Carpenter, Kurt Russell, make - up designer Rob Bottin, matte artist Albert Whitlock, and other cast and crew members) to outtakes, work - in - progress special effects footage and behind - the - scenes footage.

«Secrets Professionnels: Tête - À - Tête (Professional Secrets: Face to Face)» (8:49) is an excerpt from a 1964 TV episode in which Beauty and the Beast makeup artist Hagop Arakelian waxes on his field and his career, while while making up a lady and a man to different effect.

Digital comics The Toronto music and comics label Trinket has released two digital comics that integrate music into the story; readers can click on links to download or stream music from the artists in the story, and there are sound effects and other bonuses as well.

The audio consists of voice - overs, sound effects and music which really add layers to the charm and humour of the game with the voice - overs being the standout area of audio with each character having a personality via exceptional performances from their respective voice - over artists.

To say a number of people were not exactly happy with the way BioWare handled the reveal for Tali's appearance in Mass Effect 3 is a bit of an understatement, but some recently released concept art from BioWare artist Matt Rhodes gives us an idea of what Tali could have looked like had BioWare not gone with a stock photo of a model.

Featuring contributions from creator Sean Cunningham, composer Harry Manfredini, and special effects artist Tom Savini, Friday the 13th: The Game is a multiplayer game that gives Jason's machete to one player, and casts the rest as camp counselors hoping to survive the night (spoiler alert... they probably won't).

- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects

With help from the audio team, effects artist and designers, we turned this idea into a full level specific feature, where the player gets to experience an ongoing aftershock while in multiplayer.

Mark Reynolds Pierogi Gallery June 5 — July 5 Artist Mark Reynolds» geometric drawings get their dizzying effect from the mathematical relations he uses to build the images.

Deborah Barlow reflects on passages from the book that touch on Sterne's inclusion in the famous «Irascibles» photo of Abstract Expressionist artists and effect being in the photo had on her career.

«Bauhaus, Dessau,» taken from a photograph taken by the artist of a stairway in the Weimar - era school with the human figures entirely removed, serves as a chilling reminder of the effects of authoritarianism, globalism, right - wing populism and what the gallery calls «the locusts of power.»

For the Met show, Eklund proposes a cause - and - effect narrative that moves from CalArts to Manhattan, where young artists such as Louise Lawler, Barbara Kruger, Richard Prince and Sarah Charlesworth were independently seeking a path beyond Conceptualism and Pop.

Kessling works across a range of media such as photography, film, and performance, and here the images reflect performative tools for exploring identity, often juxtaposing the artist's own body with objects and materials such as dust sheets, clay, fabric and paper bags used with transformative effect — the temporal nature of the performative movement frozen in a single gesture — a single still from an action, or a response to an art - historical identity.

But this in effect prohibited Jews from being artists, since, until Modernism, there was no way of being a painter without making pictures and hence violating the prohibition against images!

It should be noted that while the overall effect of Murray's work is one of abstraction, and the artist described herself as an abstract painter in an interview included in the 1987 catalogue, there are many representational elements and references in her paintings, in a stylized style emerging from cartoons, comics, and graffiti as well as from pop artists like Claes Oldenburg: works are shaped like shoes or cups and contains stylized abstracted but identifiable figuration and still - life imagery.

-- NYTimes The Larry Gagosian Effect — Wall Street Journal World's Biggest Museum Opens in China — Studio 360 Top Exhibitions of 2010 — The Art Newspaper Recent Art News - Texas Week of 03/27/11 Ed Ruscha at the Modern Museum of Fort Worth — CBS New: Sunday Morning (Video) Simpsons Takes Shots at Dallas Football, Arts District — FrontRow A work in progress: The Dallas Arts District gathers trophy buildings, but still searches for urban vitality — Chicago Tribune James Turrell mound at Rice University - Glasstire Richard Serra, Pushing the Boundaries of Drawing — ARTnews Recent Art News - National - International Week of 03/27/11 Ed Ruscha Street Photography — LATimes Stephen Colbert Exposes Himself to Art (the Appropriate Way)-- NYTimes (Video) Jerry Saltz on Andy Warhol's Portraits of Liz Taylor — NYMag Eduardo Souto de Moura, Architect from Portugal, Wins Pritzker — NYTimes Recent Art News - Texas Week of 03/20/11 Neiman Marcus to feature artwork in Windows — FrontRow MAC director resigns — Glasstire Recent Art News - National - International Week of 03/20/11 Jerry Saltz: How a Joyride in Gavin Brown's Volvo Became Art — NYMag Walker Art Center to Acquire Merce Cunningham's collection — Art in America Cultural Complex in Santiago di Campostela is expensive mistake - The Art Newspaper Toshiko Takaezu, Ceramic Artist, Dies at 88 — NYTimes Recent Art News - Texas Week of 03/13/11 Artpace San Antonio — YouTube Crow Collection To Expand, Add Asian Sculpture Garden — FrontRow Donor's Son Sues Dallas Museum Over Art Collection, 25 Years Later — NYTimes Recent Art News - National - International Week of 03/13/11 Abramovic wins two - year copyright battle — The Art Newspaper Scents and Sensibility, Artists use scent to create new experience in museums — ARTnews Spark: How Creativity Works, by Julie Burstein, Kurt Andersen — Amazon.com (Book) Michelangelo's David «could collapse due to high - speed train building» — Telegraph Recent Art News - National - International Week of 03/06/11 Norman Foster to Design Huge Hong Kong Cultural District — NYTimes Recent Art News - Texas Week of 02/27/11 AMOA leaving downtown, focusing on Laguna Gloria — Austin 360 Recent Art News - Texas Week of 02/13/11 Amon Carter's Director of Education Named National Educator of the Year — Amon Carter Museum Blanton curator heads to National Gallery of Art — Austin 360 Director Dana Friis - Hansen departs from the Austin Museum of Art — The Austin Chronicle Dallas Architecture Forum wins AIA National Collaborative Achievment Award — Dallas Archicture Forum Recent Art News - National - International Week of 02/13/11 Egyptian Archeological Sites Were Looted, Says Antiquities Minister — NYTimes Tracey Emin, the visionary, emerges as Margate's answer to William Blake — Guardian What's The Matter With Kansas... This Time?

In an excerpt from Phaidon's Contemporary Artist series book Hans Haacke, we revisit a 2004 conversation between the godfather of institutional critique and Molly Nesbit for insight into how artists dealt with federal de-funding of the arts during the last Republican administration, the politicizing effects of corporate sponsorship in museums, and how art can become both a tool or weapon.

The original idea comes from the US artist Bruce Nauman, whose A Cast of the Space Under My Chair (1965 - 8) spells out the method, if not the varying effects.

The beauty that can emerge from cultural transfer and hybridity surely will be the overarching effect of these exhibitions, along with the particular political power of each artist's work.

In their book Old Mistresses: Women, Art and Ideology (1981), Griselda Pollock and Rozsika Parker wrote that, «Women artists have always existed, but because of the economic, social and ideological effects of sexual difference in western, patriarchal culture, women have spoken and acted from a different place within that society and culture».