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  • Pixomondo Trailblazes in Themed Entertainment VFX For National Geographic’s ” Ocean Odyssey”

    By Marjorie Galas

     

    International creative design and VFX company Pixomondo, known for its Emmy-award winning VFX work on “Game of Thrones” VES Award for “Hugo”, debuted an underground aquarium attraction, a first-of-its kind immersive entertainment experience, in Times Square.  The underwater attraction was created for National Geographic, and is called National Geographic Encounter: Ocean Odyssey. The exhibit harnesses…

     

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  • Makeup Artist Donald Mowat Captures Realities In “Blade Runner 2049” And “Stronger”

    By Marjorie Galas

     

    Donald Mowat greatly admired the artistry of “Blade Runner.” When director Denis Villeneuve called Mowat to lead the makeup department for “Blade Runner 2049” – a revisiting of the LA-based futuristic tale set thirty years later – Mowat was excited.  Fighting off tremendous anxiety and panic attacks at the scale of the film’s epic scope,…

     

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  • NAB Roundup – “Rogue One” Post: Step By Step

    By Marjorie Galas

     

    By: Marjorie Galas The Motion Picture Sound Editors had a crowd 500 people deep for their special NAB Super Show Session.  Entitled “The Force Returns: Rogue One-A Star Wars Story”, the panel featured the Industrial Light & Magic post team crucial to finalizing the film.  Joining Carolyn Giardina, Technology Editor at the Hollywood Reporter who…

     

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  • AFCI/Cognition Present Panel Highlighting 3D Photo Solution For Film Commissioners

    By Marjorie Galas

     

    By: Marjorie Galas Photogrammetry seems like a fabricated word, however it is a very important tool, used by the likes of scientists and geologists. In simple terms, it is the means of making measurements from photographs, where exact positions of surface points are recovered.   Some uses of photogrammetry include the satellite tracking of tectonic motions,…

     

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  • The Magic Of Post At CBS Digital: An Interview With Craig Weiss and George Bloom

    By Marjorie Galas

     

    By: Marjorie Galas Craig Weiss, executive Creative Director of CBS Digital, marvels at the company’s origins roughly twenty-three years ago. At that time, the marriage of television and visual effects was still in its honeymoon phase. “We literally started with a Macintosh computer on a picnic table,” recalled Weiss. “It’s been wonderful to see (the…

     

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  • Art Directors And The New Age: Part Two

    By ariwald@yahoo.com

     

    BY: Marjorie Galas, Editor Over the past few years, visual effects have taken a prominent position in most every film and television show. Entire sets are regularly fabricated, including characters themselves. How has the integration of practical and artificial sets and locations affected the art department? In this conclusion of our two part series “Art…

     

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  • The Creative-Cartel: A VFX Company With A Twist

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    JobsAdvance SearchEmployerCandidateIf one looks closely at the Creative-Cartel logo, an optical illusion appears: not only are the hyphenated initials present, but they also form a computer’s “power on” button.  Founder Jenny Fulle had just begun developing a high-concept website design when her fledgling company suddenly received its first offer. “We were trying to get a…

     

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  • “Avatar,” “Up” Big VFX Winners

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          It was a very blue year for visual effects.  Some would call it “Avatar” blue, others would say “Na’vi” blue, but either way, James Cameron and crew were the big winners at the 8th Annual Visual Effects Society Awards.   “Avatar” won six VES awards including the evening’s top prize, “Outstanding Visual Effects…

     

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