Sentences with phrase «with special effects artist»

There's an audio commentary with director Adam Rifkin, which is moderated by Elijah Drenner; Habeas Corpus: The Making of Psycho Cop Returns, which is an hour - long documentary that talks to many members of the cast and crew; The Victims of Vickers — an interview with special effects artist Mike Tristano; and a DVD copy of the movie.

Blood n Fire Memories a detailed look at the creation of the film's make - up effects with special effects artist Tom Savini

Blu - ray extras on The Legacy include an interview with special effects artist Robin Grantham; a still gallery; and the theatrical trailer.

There is featurette called «Re-Creating The Beast», which features new interviews with special effects artists Greg Nicotero, Gino Crognale and actor Mark McCraken (Pumpkinhead).

Not exact matches

«I want to share this award with all the artists that live downstairs» Alfonso Cuarón accepts the best director BAFTA award for the film Gravity by thanking the team that created the film's groundbreaking special effects

The «wild» first draft of Videodrome was the script that got the production its major talent — actors James Woods and Deborah Harry, special makeup effects artist Rick Baker and his EFX Inc. crew, and many other essential players — but production began with a toned down (and unfinished) second draft.

The genius behind some of cinemas most incredible transformations, make - up artist and special - effects maestro Rick Baker is now officially among the Hollywood elite with...

Extras: New interviews with actors Linda Blair, Peter Barton, Vincent Van Patten, Suki Goodwin, Kevin Brophy and Jenny Neumann; commentary with Blair, director Tom DeSimone, prodcuers Irwin Yablans and Bruce Cohn Curtis; original theatrical trailer & TV spots; new interview with DeSimone; new interview with Curtis; new interview with writer Randolph Feldman; new «Anatomy of the Death Scenes» with DeSimone, Feldman, make - up artist Pam Peitzman, art director Steven G. Legler and special effects artist John Eggett; new «On Location at the Kimberly Crest House» with DeSimone; new «Gothic Design in Hell Night» with Steven G. Legler; original radio spot; photo gallery featuring rare, never - before - seen stills.

The world of «Men in Black» has always been full of all crazy creatures and special makeup effects artist Rick Baker fills «Men in Black 3» with his wild creations that look fantastic.

Still, this is a remarkable showcase for the skilled special effects artists who bring ancient Egypt to life on a grand scale, with tens of thousands of extras and massive monuments rendered as impeccably as the sets and costumes.

Blu - ray extras include audio commentary by Mora; separate audio commentary by composer Steve Parsons and editor Charles Bornstein; interviews with Danning, Brown and special makeup effects artists Steve Johnson and Scott Wheeler; and a photo gallery.

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 lobbyspecial 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 lobbyspecial 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 lobbySpecial 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)

They are optimally aided by musician Dario Marianelli and cinematographer Erik Wilson, along with a plethora of artists in production design, sets, costumes, and special effects.

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....

The event reunited the film's cast and crew — including stars Kathy Najimy, Thora Birch, Vinessa Shaw, Omri Katz, and Doug Jones, producer David Kirschner, composer John Debney, designer William Sandell, effects / makeup designer Tony Gardner, and additional effects artist and crew, for a special reception, prop display, two sold - out screenings, and two intimate panels with the cast and crew!

Available for the first time on Blu - ray, this definitive collector's edition release is packed with over 5 hours of extras, including all - new interviews with Don Coscarelli, Bruce Campbell, and special effects artist Robert Kurtzman; new audio commentary with Joe R. Landsdale; and more!

's Blu - ray comes with a new commentary by director Joseph Zito, plus new interviews with writer James Bruner and special effects make - up artists Tom Savini, Howard Berger and Greg Nicotero.

Rawhead FX — featurette bringing together interviews with creature effects artists Peter Mackenzie Litten and John Schroonraad, special effects supervisor Gerry Johnson, second unit cameraman Sean Corcoran and make - up artist Rosie Blackmore

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.

Bridget, a digital manager for a magazine, and Jonathan, a self - employed special effects makeup artist, started off with a wish list that included a detached home in their desired neighbourhood — trendy Parkdale, just west of Toronto's downtown core.

- 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

The Silent Hill Experience Greece was imagined by Spyros Chondrogianni (director, musician, Le Ciel founder), and brought to life with the artistic and technical creation of Dimitri Philios (special effect artist, interior designer) and Evangelia Zorba (graphic & costume designer) and the promotional management of Manos Vezou (Authority.gr editor - in - chief & founder).

From Claudia Hart's critique of digital technology and the misogyny of gaming and special effects media to Carla Gannis's performance video where the artist competes with her virtual self; from Cynthia Lin's monumental drawings detailing minuscule portions of skin to Laura Splan's mixture of scientific and domestic in molecular garments and Joyce Yu - Jean Lee's challenge of conventional viewing perspectives; from Christopher Baker's examination on participative media to Victoria Vesna's collaborative project on social networking, identity ownership and the idea of a «virtual body» — the show guides the viewer through an array of captivating approaches that challenge not only current media ideologies but also conceptual paradigms underlying today's digital art, the question of disembodiment and post-humanism in particular.

Kessler's work since the»80s has been aligned with the tradition of kinetic sculpture and assemblage that emerged in the early twentieth century — such works as Marcel Duchamp's Rotoreliefs, Moholy Nagy's time / space modulators and Yves Tinguely's self - destructive machines are obvious sources — but filtered through the erratic, jury - rigged aesthetic of artists like Robert Rauschenberg and the improvised, makeshift special effects of B - filmmaker Ed Wood.

The artist experiments with special color combinations, saturations and a variety of different effects to capture an innocent and intimate sense of beauty.

He too mentions the influence of television, particularly, the MTV, a station whose special effects play a considerable role and to which artists of his generation have contributed.Tony Oursler animates non-living objects with the use of projectors.

For three minutes, the image of the artist may be seen beating another figure with a baseball bat and stomping him — an exceedingly explicit virtual reality that, we may only later learn, is accomplished through special effects.

Typical resume samples for FX Artists list duties like creating special effects, aligning effects with the game world, creating graphic elements, and using advanced computer software dedicated to video game development.