Sentences with phrase «visual effects shots»

Their talk isn't necessarily bad, but it's very dry and they do focus solely on the visual effects shots in the film.

As you probably expect, this featurette examines the visual effects shots created for the flick.

And I further find it really hard to imagine any way that it could have gotten done with less than 3,000 visual effects shots.

Music cues, sound effects, and visual effects shots could be sent to this production center so Cameron could continue to tweak his workprint, adding music or effects here or there.

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.

Given a reported production budget of $ 180 million, there are needless to say quite a few visual effects shots in Disney's Maleficent, released this past summer.

I appreciate that the film had a tiny budget of $ 15 million, but that simply means they should have been more choosy when it came to visual effects shots.

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.

For example, a Hollywood director can bypass visual effects specialists and tweak movie shots directly.

For A Wrinkle in Time, the Lidar Guys modeled various shots of the New Zealand countryside, which were then handed off to larger visual effects vendors to generate new imagery to be added.

Soderbergh shoots the battles with visual flair, taking the cinema verité he used to good effect in the first part a step further.

CGI is used for visual effects because the quality is often higher and effects are more controllable than other more physically based processes, such as constructing miniatures for effects shots or hiring extras for crowd scenes, and because it allows the creation of images that would not be feasible using any other technology.

Although a photo of you with a group of friends can create a visual illusion called the cheerleader effect, where individual faces appear more attractive, you should go for solo shots of you.

And the film is just beautifully shot and it has the best visual effects I have seen in a long time.

The HFR version is great in detailed action sequences involving visual effects — the prologue and Goblin Town look particularly good — and is otherwise so haphazardly hit and miss from shot to shot to shot that I don't think I was «in» the movie for more than eight seconds at a time for the entire two hours and forty - five minutes.

The most interesting feature is about the film's visual effects, which talks about the post-production contains over 600 effects shots.

While it would be easy to shoot an entire film like this on a sound stage and use visual effects to complete the scenery, director Baltasar Kormakur (2 Guns, Contraband) wanted the cast to experience the elements firsthand by shooting on location in Nepal on the foothills of Everest, as well as the Italian Alps.

The visual effects vary from the iffy to the sublime, whilst the action scenes are well - shot, if brief.

EXTRAS: The Blu - ray release includes a behind - the - scenes look at production — including visual effects, stunt choreography and location shooting in Gabon — as well as a featurette examining Tarzan and Jane's iconic relationship.

Blu - ray extras include video commentary by Berg; an alternate ending previsualization; a featurette on the visual effects; looks at shooting at sea and on the USS Missouri; a tour of the USS Missouri; and a short piece on the cast.

«VFX Breakdown» (8:39, HD) allows visual effects supervisor Frazer Churchill to speak over footage demonstrating what has been done for the more effects - intensive shots of the film.

They ponder the show's unpaid product placement, color palettes, unique shooting locations, the episode's visual effects, and the significance of character moments.

Grunberg's approach lacks visual pretensions and fancy effects — the filmmaker just applied sensible judgment in order to shoot each scene in a comprehensible and effective manner.

«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.

The visual effects are far better than the artificial ones employed on ancient - set Starz shows but they're not quite big screen - worthy as blue screen shots forging coastlines and a pitiful overhead Havana shot show their seams.

In Marin County, California, the ILM team, headed by visual effects supervisor Stefen Fangmeier, produced 300 shots in 12 weeks.

Originally intended to be shot in full Cinerama, it was eventually filmed in the more conventional Super Panavison 70 process when special effects supervisor Douglas Trumbull pointed out that it offered less chance for visual distortion.

Two «Visual Effects Scene Deconstructions» allow you to see short effects - heavy set pieces (tunnel scene and the Edgar climax) in various stages of completion: storyboards, bluescreen shoot, bluescreen composite, lighting & animation, and the final cut.

Bekmambetov is a visual effects maestro (as he's proven with the Russian fantasy films «Night Watch» and «Day Watch»), and though most of his SFX trickery is squandered before the end of the first act, he still stages a mean gunfight; one good enough to rival even the most impressive sequence from «Shoot «Em Up.»

«The kind of visual effects we're doing in this, the amount of volume of shots — it was a monumental step up for me,» Coogler said.

His eye for visual effects and camera shots is a plus here.

They re-engineered the entire production plan: switching to shoot in locations with more favorable tax incentives; shrinking the crew; laying off makeup artists, visual - effects workers and extras.

Shot on digital cameras, the film looks so clean and sharp it shows up the cheap costumes, props and effects and lessens the visual splendour of Jodorowsky's imagery.

The visual effects are a mixed bag — some of the shots, particularly those concerning the futuristic bodysuits and some of the CGI critters, look great.

Rewatching the movie, it's hard not to be impressed with the seamless blend of visual effects and location shooting.

At the recent press day, Core, Ramirez, Bracey, wingsuit stunt pilot Jeb Corliss, professional free climber Chris Sharma, Alcon producers Andrew A. Kosove and Broderick Johnson, and 2nd unit director Philip Boston talked about how they went about creating the ultimate sports movie, how the actors viewed their characters and built the bro - mance, the challenges of coordinating a production that shot around the world in 11 countries and on 4 continents, why all the 2nd unit work was shot prior to the first unit work, why vision and authenticity were paramount, why the imagination, energy and focus required to shoot a film in camera is much greater than when visual effects are used everywhere, and why it took courage to make this film.

I was later somewhat disappointed to learn, as the quote above reveals, that the shot was achieved through visual effects, but it wasn't enough to erase the image from my mind: a distressed Milk confronts a police officer following a violent night of gay - bashing in the Castro as a whistle — a plot point raised earlier in the film — lies blood spattered on the ground, reflecting the scene throughout.

The visual effects supervisor discusses working with director D.J. Caruso, molding the effects shots for this sci - fi adventure, and more.

But it benefits from a handful of glorious visual moments unlike anything else in sci - fi — the stunning track - back through the universe at the film's opening, the special effects bonanza that brings matters to a climax and a truly weird and unforgettable through - the - mirror long shot.

Director Ben Berman's test shoots for visual effects (7:47) has him and other crew members try out different video tricks, like animated mouths and instant beards, employed in Season One.

Nonso Anozie talks about the visual effects of «Ender's Game» and how much fun it was to shoot the movie.

Not that this will distract you from the utterly kick ass visuals of a film shot using mostly practical effects.

Blade Runner 2049 is the cinematographer's third film with director Denis Villeneuve and, in an interview with Vanity Fair, Deakins explained the extent of the collaboration — designing the look of the world with the director, and even staying on set during postproduction to supervise visual - effects shots and ensure they maintained the spirit of bleakness he and Villeneuve had envisioned for the futuristic film.

Smartly shot for a very modest budget of $ 30 million (lots of strings were certainly pulled to get such a cast of famous personalities onboard), Rogen and Goldberg know where and when it's most effective to go for special effects (this does not feel like a low budget Hollywood film), and they do so without letting visuals or star egos get in the way of making a very funny movie.

Other topics arising: costumes (which included CGI armor), linguistics, fighting styles, production design, visual effects (from the unsettling depiction of X-ray vision), set pieces (the tornado sequence, Lois Lane's complicated single shot work escape), underwater filming, and filming locations.

Producers Patrick Crowley and Paul Sandberg, Berlin location chief Marcus Bensch, Lucian Stevenson of SnowBusiness (the go - to company for fake snow), stuntman Adam Kirley, 2nd Unit Assistant Director Robert Grayson, visual effects supervisor Charlie Noble explain how and why Berlin doubles for Moscow, and the pitfalls of shooting in a train station.

There are some impressive visual effects, particularly the journeys through the swirling vortex of Jupiter's Great Red Spot and a shot of spaceship emerging from the rocky rings of some alien planet.

Digging around the Blu - ray, I uncovered two brief Easter eggs; one (1:14) deconstructs the layers of visual effects in a number of shots, while the other (0:44) shows the attempts to get a flip stunt right.

EXTRAS: The Blu - ray release includes nine featurettes — covering a range of topics like the cast, stunts, visual effects, production design, location shooting in Johannesburg and A.I — as well as an alternate ending, an extended scene and a concept art gallery.

EXTRAS: In addition to a feature - length documentary on the making of the movie, there's a behind - the - scenes look at the cast table read, featurettes on creature design, visual effects and shooting the climactic lightsaber battle, as well as some deleted scenes.