Sentences with phrase «of visual effects teams»

Such a story sets the foundation for the bevy of visual effects teams to go absolutely ham with digital rain and pummelling waves and sweeping views of raging sea storms.

You will become part of the visual effects team and be responsible for creating, visualizing and implementing real - time particle and shader effects, in close collaboration with the design and art departments

Adding to the already - impressive tech credentials and self - deluded Alex Proyas / Akiva Goldsman commentary of the previous widescreen release (I like how Goldsman soldiers forth in a way that suggests he understands a third of what he's saying), one of two new film - length yakkers features production designer Patrick Tatopoulos, editor Richard Learoyd, and various members of the visual effects team.

You will become part of the visual effects team and be responsible for creating, visualizing and implementing real - time particle and shader effects, in close collaboration with the design and art departments

Not exact matches

Putting together a galactic - scale blockbuster is a global effort, involving not only this visual effects shop — Shore estimates his team is responsible for 250 of the shots cinema - goers will see once Star Wars Episode VII opens on Dec. 18 — but also ILM's head office in San Francisco, as well as branches in London and Singapore.

They're one of a team of vendors, a number of special effects companies, working together under a visual effects supervisor on the film.

Franklin's team at visual effects studio Double Negative spent a lot of time figuring out how TARS may run, fold his arms, and do various other movements.

After filming with a practical puppet of TARS, the visual effects team made minor edits which included taking out some wires, physical props and rigs, and wiping out any instances of Irwin in the film.

Instead, Pitt's digital image was recreated on screen by teams of visual effects artists, leaving the actor free to work on other projects.

As well as producing Oscar - nominated visual effects for the movie, Thorne and the effects team also unearthed some unexpected physics, such as that an observer close to a rapidly spinning black hole would see more than a dozen images of individual stars just outside one edge of the black hole's «shadow.»

It briefly shows how the Oscar - nominated visual effects team mapped Cushing's facial features onto the British actor Guy Henry using a combination of «lightstage» motion capture and CGI.

Director Peyton Reed's creative team also includes Oscar ® winning cinematographer Russell Carpenter (Titanic, 21), production designer Sheppard Frankel (Identity Thief, Horrible Bosses) costume designer Sammy Sheldon Differ (X-Men: First Class, Kick Ass), visual effects supervisor Jake Morrison (Marvel's Thor: The Dark World, The Lord of the Rings: Two Towers), stunt coordinator Jeff Habberstad (Marvel's Iron Man 3, X-Men: Days of Future Past) and six - time Oscar ® nominee, special effects supervisor Dan Sudik (Captain America: The Winter Soldier, Marvel's The Avengers).

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!»

Director James Gunn's creative team also includes director of photography Henry Braham («The Legend of Tarzan,» «The Golden Compass»); production designer Scott Chambliss («Star Trek,» «Tomorrowland»); editors Fred Raskin («The Hateful Eight,» «Guardians of the Galaxy») and Craig Wood («Guardians of the Galaxy,» «Pirates of the Caribbean: At World's End»); composer Tyler Bates («Guardians of the Galaxy,» «John Wick»); three time Oscar ® - nominated costume designer Judianna Makovsky («Captain America: Civil War,» «Harry Potter and the Sorcerer's Stone»); Oscar ® - nominated visual effects supervisor Chris Townsend («Avengers: Age of Ultron,» «Iron Man 3»); stunt coordinator Tommy Harper («Pirates of the Caribbean: Dead Men Tell No Tales,» «Captain America: The Winter Soldier»); co-producer / first assistant director Lars Winther («Captain America: Civil War,» «Captain America: The Winter Soldier»); and six - time Oscar ® nominee, special effects supervisor Dan Sudick («Captain America: Civil War,» «The Avengers»).

The costume and visual effects teams work hard for the Oscar nominations that eluded them last year and there's spiffing handheld IMAX camera action in the arena where our heroes - a few mean - looking bad - asses and a bunch of other contestants we never actually meet - find themselves in a tropical jungle dome laid out like a clock with a wicked surprise in every sector.

The Academy Award - winning team of Alex Henning and Ben Grossman («Hugo») supervised the visual effects.

To hit that elevated goal post, Spielberg worked in concert with New Zealand - based Weta Digital, known for its boundary - expanding work on the «Lord of the Rings» and «Hobbit» trilogies, «Avatar,» the rebooted «Planet of the Apes» films and Spielberg's own «Tintin,» with a team headed up by Oscar - winning senior visual effects artist Joe Letteri.

Magic is an inherently cinematic art form, especially now when no illusion seems beyond the reach of a capable visual effects team.

From epic mountain kingdoms to the humble abode of a hobbit, Jackson and his team of visual effect gurus, with the aid of the luscious scenery of New Zealand, fully immerse you into a world of magic and wonder.

The behind - the - scenes team includes Academy Award ® - winning director of photography Dion Beebe («Memoirs of a Geisha»), production designer Oliver Scholl («Jumper,» «Independence Day»), editor James Herbert («Sherlock Holmes,» «Sherlock Holmes: A Game of Shadows»), costume designer Kate Hawley («Pacific Rim»), and Oscar ® - nominated visual effects supervisor Nick Davis («The Dark Knight»).

With a total of 1,200 visual effects shots in «Blade Runner 2049» — that comes out to 1:45 of the movie's total running time of 2:43 — Oscar - winning VFX supervisor John Nelson and his team logged in major hours to go a step beyond the 1982 original movie's legendary sci - fi look.

Actor Seth Rogen and writer Evan Goldberg, who previously teamed up on the screenplays for Superbad, Pineapple Express, The Green Hornet, and The Watch, now make their co-directing debut with this comedy extravaganza, a remarkable mix of monsters, visual effects, vulgar humor, and feel - good optimism.

Heck, there's even a look at the many different end credit sequences that were created, while the film's three visual effects teams get a featurette («Wired») of their own.

On Blu - ray and DVD with two commentary tracks (one from director Paul Feig and co-writer Katie Dippold, the other featuring editor Brent White, producer Jessie Henderson, production designer Jeff Sage, visual effects supervisor Pete Travers, and special effects supervisor Mark Hawker), the featurettes «Meet the Team,» «Visual Effects: 30 Years Later,» and «Slime Time,» and «Jokes a Plenty: Free For All,» and a collection of alternate improvisational takes (what was called «Line - o-rama» in Judd Apatow disc relevisual effects supervisor Pete Travers, and special effects supervisor Mark Hawker), the featurettes «Meet the Team,» «Visual Effects: 30 Years Later,» and «Slime Time,» and «Jokes a Plenty: Free For All,» and a collection of alternate improvisational takes (what was called «Line - o-rama» in Judd Apatow disc releVisual Effects: 30 Years Later,» and «Slime Time,» and «Jokes a Plenty: Free For All,» and a collection of alternate improvisational takes (what was called «Line - o-rama» in Judd Apatow disc releases).

That glow - up gave Coogler and team the opportunity to create as many physical sets as they wanted, as opposed to sets created purely by visual effects — «It was great to have something that grounded everyone,» Morrison said — and make use of as many camera tools as needed.

Behind the scenes, the creative team was led by director of photography Eduardo Serra, production designer Stuart Craig, editor Mark Day, composer Alexandre Desplat, visual effects supervisor Tim Burke, and costume designer Jany Temime.

The behind - the - scenes creative team included director of photography Hoyte van Hoytema, production designer Nathan Crowley, editor Lee Smith, costume designer Jeffrey Kurland, visual effects supervisor Andrew Jackson and special effects supervisor Scott Fisher.

On Olive Kitteridge, Godwin and his team guided director Lisa Cholodenko through her first experience with visual effects, helping to ensure they were congruent with the tone of poignancy that Cholodenko was after.

The creative production team includes Emmy nominated director of photography David Moxness («The Kennedys»), production designer Chris Cornwell («Ride Along,» «The Wedding Ringer»), costume designer Olivia Miles - Payne («Entourage,» «Ride Along 2»), visual effects producer Raoul Bolognini («Spider - Man 2,» «Zombieland»), visual effects supervisor Erick Geisler («The Day the Earth Stood Still»), and editor Scott Powell («24»).

Edwards and his visual effects team (as well as the Irish director of photography, Seamus McGarvey) deserve high praise for the stunning visuals — not just for the computer - generated monsters, but also the battle - ravaged cities and landscapes.

From the Ground Up: The Visual Effects of Little Man (15 minutes) features comments from the visual and digital effects teams, and we get to see how Marlons head was digitally placed on the body of a small Visual Effects of Little Man (15 minutes) features comments from the visual and digital effects teams, and we get to see how Marlons head was digitally placed on the body of a small visual and digital effects teams, and we get to see how Marlons head was digitally placed on the body of a small actor.

Of course, the visual effects team put in some bubbles, and fish swimming, and all that kind of stuff to sell iOf course, the visual effects team put in some bubbles, and fish swimming, and all that kind of stuff to sell iof stuff to sell it.

I would include Bradford Young, the DP of Mother of George, in this category, as well as the visual effects teams of The Hobbit: The Desolation of Smaug and Riddick.

He is helped here enormously by a terrific production crew, with many key jobs filled by women including «Mudbound» cinematographer Rachel Morrison, the first female to be nominated for a best cinematography Oscar; the colorful costumes of Ruth Carter; great production design from Hannah Beachler; and generally fine work right on down the line including an awesome visual effects team.

The visual effects team behind Terrence Malick's The Tree of Life talk exclusively to Little White Lies about the making of the film.

The visual effects helmed by Nick Davis (The Dark Knight) and his team are another area Edge of Tomorrow excels in.

The diegesis of Elysium seems a bit familiar when compared to other dystopian worlds, but much of the technological props, production design, and visual effects that Blomkamp uses are amazing; the director definitely owes props to his practical design and CGI teams.

To pull it off, the film's visual effects team, supervised by Jake Morrison of VFX outfit GOAT, used stunt actors whose substantial height difference matched the gap between Thor and the Hulk.

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.

Next up, see how HBO teamed up with the visual effects company Imaginary Forces to create their intricate new Feature Presentation bumper that plays before the premiere of new movies arriving on the cable channel.

The Milestone team has been able to reach incredible enhancements in terms of visual quality: lighting effects on tracks and bikes has become more realistic than ever, recreating all light reflections down to the smallest details.

Enter 4 people on a small screen, set for pure deathmatch or teams in a visual explosion of crazy moves and ridiculous sound effects from game and player alike.

This includes improved visuals thanks to the power of PS4 / Xbox One / PC, more satisfying combos, the new leader - change battle system, battle damage from attacks, how to minimize the effects of that damage, and the ability for team members to awaken simultaneously!

UNIQUE HEROES - Collect 80 + Heroes of varying types, including brute force fighters, skilled ranged combatants and masters of magic PVP BATTLES - Compete in unique PVP modes to earn prestige and powerful rewards - Put your team to the ultimate test by battling friends via Bluetooth IMMERSIVE EXPERIENCE — Real - time combat with captivating visual effects and extremely deep strategic gameplay — Explore mysterious and magical lands to find and collect new Heroes in a captivating campaign MASTER TACTICS — Create the perfectly balanced party to overcome the most powerful foes and legions — Unlock, upgrade, and master your Hero's abilities to protect your allies, interrupt your opponents, or deal massive damage FOLLOW US at: Facebook: http://www.facebook.com/soulhuntersmobilegame Twitter @HuntersGlobal Homepage: http://www.soulhuntersgame.com Instagram #soulhunters SUPPORT If you encounter any difficulties or require support please contact Customer Service by tapping on your in - game Avatar and then Support.

Chosen from more than 500 applicants, she was one of the seven members of the core creative team for the opening and closing ceremonies of the Beijing Olympics in 2008, as well as the chief designer for visual and special effects.

Tyldum and the film's creative team also do an admirable job of crafting some breath - taking visual effects that make the movie feel fresh and stand out among the year's crowded field of outer - space adventures.