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'Captain America: The First Avenger'
Published: August 3, 2011
LOS ANGELES — Captain America: The First Avenger tells the story of the iconic World War II comic book character Steve Rogers, who uses guts, gumption and noble courage to gain entry into a top secret government project that transforms him into a superhero that saves the world from destruction by the hands of the evil Red Skull. |
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Cover Story: ILM goes chameleon with 'Rango'
Published: March 4, 2011
SAN FRANCISCO — In the midst of the massive production that was Pirates of the Caribbean: Dead Man’s Chest and
At World’s End, director Gore Verbinski mentioned to Industrial Light & Magic visual effects supervisor John Knoll and animation supervisor Hal Hickel that he had an idea for an animated feature. It was a western about a reluctant hero chameleon who tries to bring justice to the town of Dirt.
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Cover Story: 'Tron: Legacy'
Published: December 6, 2010
HOLLYWOOD — Twenty-eight years after Disney Studios’ pioneering visual effects sci-fi Tron became an indelible part of the cyber-cultural consciousness, Tron: Legacy — a sequel using the latest and greatest technology and design — pays homage to the original... in glorious Disney Digital 3D. |
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Cover Story: 'Harry Potter and the Deathly Hallows'
Published: November 5, 2010
HERTFORDSHIRE, UK — H
arry Potter and the Deathly Hallows is J.K. Rowling’s conclusive book seven, transformed into Warner Bros.’ final two-part movie of the Harry Potter saga that reunites director David Yates, editor Mark Day, post supervisor Katie Reynolds and visual effects supervisor Tim Burke. All four previously collaborated on the last two pictures, Harry Potter and the Order of the Phoenix and Harry Potter and the Half-Blood Prince, and in some cases are culminating a 10-year-plus collaboration on the Potter franchise. |
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The Social Network's Image Experts
Published: October 12, 2010
HOLLYWOOD — On one of the larger soundstages at Red Studios in Hollywood, Lightiron (www.lightirondigital.com) colorist Ian Vertovec is perched on a raised platform about 16 feet in the air at the center of the nearly empty space. He gently moves track balls on the Pablo’s Neo control panel, adjusting the color timing for the David Fincher film The Social Network. On the far wall behind him is a Sony SRX-T420 4K projector. On the front wall is a 40-foot screen with an image from one of the first features shot with Red’s new Mysterium X chip. |
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The Social Network
Published: October 8, 2010
The film’s workflow took advantage of Adobe and Apple tools.
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