The Seduction of Reality
Article by Jody Duncan
Twelve years after his blockbuster film Titanic broke all boxoffice records, filmmaker James Cameron returned to the big screen with Avatar, a science fiction fantasy set on another world, and shot entirely in stereo 3D. Working with a dedicated technical team, Cameron spent four years developing new filmmaking paradigms designed to push the boundaries of performance capture and virtual character creation to unprecedented levels of artistry and sophistication. Weta Digital led the groundbreaking visual effects effort, with support from Industrial Light & Magic, Framestore, Frantic Films, Hybride, Weta Workshop and Stan Winston Studio.
Article by Joe Fordham
Envisioning the grandest disaster scenario ever, writer/director Roland Emmerich set his sights on no less than total planetary destruction in the film 2012, featuring a story inspired by an ancient Mayan prediction of impending global cataclysm in that fateful year. Joining Emmerich were longtime collaborators Volker Engel and Marc Weigert, whose studio, Uncharted Territory, served as in-house visual effects unit for the production, and as production hub for the multiple vendors, including Digital Domain, Double Negative, Sony Pictures Imageworks, Scanline, Hydraulx, Crazy Horse and Pixomondo. Special effects supervisor Michael Vezina provided large-scale mechanical effects.
The Road
Road to Nowhere
Article by Joe Fordham
In The Road, based on Cormac McCarthy's Pulitzer Prize-winning novel, a man and his young son embark on a cross-country journey as they struggle to survive the brutal circumstances brought about by an apocalyptic event that has devastated the planet and destroyed the very fabric of civilization. Director John Hillcoat turned to visual effects supervisor Mark Forker, visual effects studios Dive and Crazy Horse, and a handful of supporting vendors to create the film's stark, post-apocalyptic environments.
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