Sentences with phrase «effects studios in»

Not exact matches

In fact, The Information said that the clip was created by film studio special effects rather than being the result of internally developed optical breakthroughs.

We spoke to Katy about her dolls, her studio, her dreamy Instagram account, the effect her arthritis has had on her life and her creativity, and the incredible joy she finds in being able to sew and make again.

«These are important jobs for Staten Islanders, and there is a multiplier effect that takes place in areas surrounding such studios,» Oddo said in a statement.

NEW YORK, United States — «In the past, we would have a show and there would be a lot of excitement that day... and then the following week, it was business as usual,» said designer Tommy Hilfiger on Sunday at his New York studio, reflecting on the «halo» sales effect created by the brand's first in - season runway show in September 201In the past, we would have a show and there would be a lot of excitement that day... and then the following week, it was business as usual,» said designer Tommy Hilfiger on Sunday at his New York studio, reflecting on the «halo» sales effect created by the brand's first in - season runway show in September 201in - season runway show in September 201in September 2016.

Forster finds a nice way of visualizing this last quirk by showing Harold surrounded by shifting diagrams and mathematical equations, but in one of the film's many missteps, these visual effects show up only sporadically throughout the rest of the story, as if the filmmakers couldn't decide to either fully utilize them or get rid of them after paying the special effects studio a lot of money to create something so nifty - looking.

An expertly crafted experimental pop album that at various points suggests the work of singer Kate Bush, the effects - drenched work of the Cocteau Twins and British art - rock band Talk Talk — all musicians who mix a certain sonic delicacy with studio heavy production — No Shape exudes confidence and vulnerability in equal measures.

The plot is weaker than some of Marvel's more recent stories (I'm looking at you Winter Soldier), and the villain is the biggest mustache twirling megalomaniac the studio has yet produced, but what it lacks in completely solid writing it makes up for in its wonderfully charming cast, an impressive use of special effects, and at least a baby step forward as far as female supporting characters are concerned.

De Niro's expression is fascinating, waves of weariness and indifference flowing across his iconic mug in what suggests a meta commentary on this tragic career phase in the actor's career and, simultaneously, a genuine reaction on his part to the numbing effect of having to appear in another cynical squirt of pre-fab studio entertainment.

So Raimi wants to do the Lizard in part 4, which the studio says can't happen because of effects limitations, which in turn leads to reboot the franchise just so they can do the Lizard??? I don't get it.

Fun trivia fact for those who don't know: James Cameron, who cut his teeth in Corman's studio, worked on the effects for Escape from New York, including a Manhattan skyline matte painting.

The studio is also hoping to capitalize on a more recent trend — the emergence in the 2010s of the month of August as a successful launching pad for dramas, as a summer increasingly saturated with effects - driven blockbusters leaves adult audiences craving something aimed at them.

OUR TAKE: Fresh young faces starring in a movie about a board game that hinges on delusion - as directed by Stiles White, a special effects guru from the Stan Winston studio, who has written films like Knowing and The Possession, but is admittedly making his directorial debut with this movie.

This familiar studio entreaty against spoilers has by now hardened into ritual, like some of the other built - in features of the Marvel Cinematic Universe: amusing jokes, dynamic action, state - of - the - art effects, a happy ending, a post-credits teaser.

Almost two full decades before the explosion of effects - and gore - driven horror created in large part by the emergence of a viable VHS genre market, Lewis and his producing partner crafted careers out of servicing the more prurient interests of theater owners, who were eager to book cheap fare that could fill seats between Hollywood studio engagements.

A re-visiting of the somewhat seminal work — which scored a visual effects Oscar nomination, rang up over $ 50 million in its initial theatrical run, and expanded upon the notions of what was an acceptable Hollywood studio animated release — reveals a spirited but flawed rendering of a deliciously wonky premise, a movie long on cultish personality but lacking in the sort of storytelling vim and vigor that sticks to the imagination outside of a captive viewing.

The soundtrack preserves the careful mixing of diegetic and non-diegetic effects, most notably in how urban street sounds, particularly of traffic, are used to bridge studio - shot footage with location shooting.

(p. 37) Yet, whereas Daire sees Mauprat as a dynamic, complex, and ostensibly queer studio film (the gender play he notes in the biography), Keller sees the film as a «costume drama [that] lacks almost entirely the vigour described by Epstein about the effects of cinema on an audience.»

«Star Wars» Sequel: All six previous «Star Wars» film have shot some scenes at U.K. studios, but almost all of the production on J.J. Abrams» upcoming sequel will be done in the country, including the visual - effects work.

Those 30K visual effects, alone and collectively, have contributed to long - form, serial storytelling (the Marvel Cinematic Universe [MCU] by another name) without equal in size, scope, or scale among Hollywood studios.

As a big - budget studio fantasy, its hypocrisy is blatant: If the point is that, in an age of endlessly proliferating screens, mass media has already replaced reality with fiction (as Baudrillard suggests), slow - motion gun fights and revelatory special effects are hardly the antidote.

in 5.1, too often there's a weird reverb effect that speaks to me of a lot of unused, wasted studio space.

Furthermore, in a summer filled with overblown and script - weak blockbuster fare, it's nice to see a relatively small «independent movie» (I put that in quotes because the film is from Fox Searchlight Pictures, which is, after all, a subset of a major studio), which delivers its goods without a single explosion or special effect (none visible, anyway).

Meanwhile, sound editors Christopher S. Aud and Aaron Glascock discuss their unique approach to foley on the film, which involved creating effects in locations that acoustically mimicked the environments depicted on screen — an ethos Kaufman says carried over into leaving in the imperfections of the dialogue recording (like breathing) that animation studios normally edit out.

The Bourne boom is still in full effect in Hollywood right now, as studios continue to set the wheels in motion on more spy movies and espionage - themed thrillers.

A startling example of claustrophobic studio artifice, it was photographed by Elwood (Woody) Bredell, whom Siodmak schooled in the menacing chiaroscuro effects of Eugen Schüfftan, Fritz Lang's cameraman on Die Nibelungen and Metropolis and Abel Gance's on Napoléon.

Baker protégé Rob Bottin's work on that film was arguably equal to that of his mentor (who left Bottin in charge of The Howling «s effects after he exited the project for the bigger - budget American Werewolf), and yet the Academy couldn't even be bothered to nominate him (or, perhaps more likely, its members simply couldn't bring themselves to watch a low - budget horror movie not put out by a major studio).

Bryan Godwin, CEO of Shade VFX, has overseen visual effects on a number of major studio pictures and acclaimed TV series in recent years, including True Detective, Batman vs. Superman, Pixels and American Ultra.

The Award winning Star Wars effects studio «Light & Magic» is leading the post-production process, in an effort to bring the «Warcraft world to life.

With studios like Blumhouse (Get Out, Split, and the Insidious franchise) and A24 (The Witch, It Comes at Night) establishing distinct identities in the minds of moviegoers and television shows like American Horror Story, Bates Motel, and even Stranger Things spreading the genre elements across the airwaves — or, more likely, your laptop — it's difficult to deny that we're in the midst of an era of horror filmmaking that prizes subtext, mood, and tone over gore effects, elaborate kills, and jump - scares.

Long after the form fell out of vogue — and in an era when many big - budget studio films pack the screen with saturated candy colors and in - your - face 3 - D effects — indie filmmakers and even the occasional studio - movie veteran are turning to the monochromatic.

They were done to good effect in» Lock Stock and Two Smoking Barrels» and» Snatch» but here they just seem to remind you you're watching little more than a big studio blockbuster.

While digital effects created the Hulk's intimidating stature, Ruffalo worked in - studio to ground the character and bring realism to his movements and emotions.

It turns out that wasn't a terrific move, as the Polish studio refined their initial concept to impressive effect in Dying Light, while Yager and Deep Silver eventually split.

Todd McCarthy, The Hollywood Reporter: «Favreau and cinematographer Bill Pope vigorously keep the camera moving at all but the quietest moments, and the visual effects team led by Robert Legato and Adam Valdez has both created sumptuous settings that look as lifelike as any CGI ever presented in a studio feature and integrated both humans and animal characters into them in seamless ways.»

In fact, it is both a classroom and a special effects studio.

«Horror High: The Berea High School Visual Effects and Design Class» Teenagers enroll in an art course that puts them to work in a professional special effects studio (January 2008).

The special effects technology, used in television and film - making, turns the classroom into a studio, transporting pupils to a different location or time.

We have in - house studios and directors, voice talent and sound designers that efficiently process the high number of hours we produce in this production value heavy format that includes sound effects and original music.

BioWare co-founder Ray Muzyka has released an open letter regarding the controversial ending to the Mass Effect trilogy, addressing fans» concerns and saying the studio is «hard at work on a number of game content initiatives that will help answer the questions, providing more clarity for those seeking further closure to their journey»; something they're planning to shed more light on in April.

the Halo franchise can't do it all, and with it almost a guarantee that Mass Effect will come to the PS3 in the same way that Bioshock now has, Microsoft doesn't need to CLOSE studios, they need to take some of that money they spent seducing Rockstar for GTAIV DLC, and Square - Enix for a FFXIII 360 release, and apply that to establishing ALL NEW studios that can work on true EXCLUSIVE GAMES for the 360, not add on content to games that, with time, will only have their userbases DIMINISH as newer and better games come out.

- a lot of focus was put on sound effects in order to immerse players in the world of Hyrule - the development team worked with Sound Racer, a studio specialized in sound effects - this studio also worked on Xenoblade Chronicles X - they recorded more than 10 000 different sounds for the game - the team used a school bag to simulate the sound of rubbing leather - for the sound of «normal» footsteps, they mixed various kinds of sands - for the sounds of equipment, they had to search for various materials and find ways to use them - they used an actual block of ice to recreate the sound of footsteps on ice - with the ice block, it always ended up melting, or getting cracks when the staff had to walk on it - Link's footsteps were made by a woman - depending on Link's actions and the equipment he's using / wearing, the recorded sounds were separated out individually - the volume is changed as needed to make a particular sound stand out - check out sound effect samples here

As such about halfway through Mass Effect 2 Bioware, now referred to as Bioware Edmonton, to avoid confusion, decided to create a new Montreal based studio, of which they placed Yanick, who have worked on the original Mass Effect, in charge.

While it certainly has good moments and is not altogether a bad game, from a studio held in high regard like Bioware along with being the fourth game in the epic Mass Effect trilogy Andromeda could not be seen as anything but disappointing.

Following news that the remaining two founders of BioWare have left the company, the general manager at the company's Montreal and Edmonton studios has confirmed that a new installment in the Mass Effect franchise is currently in development at the company.

Talking Points — What we've been playing (including a mini-Prey review)-- Destiny 2 event (3 am Fri 19th May AEST)-- first gameplay demo — Bioware Montreal returns to being a support studio after Mass Effect: Andromeda — IO interactive up for sale — Nintendo New 2DS announced — E3 predictions — Guardians of the Galaxy thoughts — Donald Glover producing new Deadpool animated series (Mature rating)-- Judge Dredd Tv series in works as well — Atari Documentary — Shout outs for our Facebook page, Twitter account, Simon's Twitter account and Ben's Twitter Account.

With Fear Effect Sedna making its debut today, French studio Sushee can now turn its attention to the recently announced Fear Effect Reinvented - a remastered take on the original PlayStation game that started it all - also in development for PlayStation ® 4 system, Xbox One, Nintendo Switch and PC.

In a recent Tweet, Bioware studio director Yanick Roy has said that the next game in the Mass Effect franchise is «somewhere in the middle» of developmenIn a recent Tweet, Bioware studio director Yanick Roy has said that the next game in the Mass Effect franchise is «somewhere in the middle» of developmenin the Mass Effect franchise is «somewhere in the middle» of developmenin the middle» of development.

An adaptation of the forthcoming action game Dante's Inferno is on its way following a four - studio bidding battle, as well as versions of The Sims, Mass Effect and Army of Two, all of which are in various stages of pre-production.

You take someone suffering in silence and have the climate of your studio be «andromeda seems to have killed the mass effect brand, now biowares futures riding on YOU» or something and thats a pressure thats building with no reasonable outlet.

«There's a belief that if Anthem doesn't live up to EA's expectations, BioWare will look very different in the future, especially after the disappointment of Mass Effect Andromeda led to EA absorbing BioWare Montreal into the studio EA Motive,» the article said.