When this shot appeared in dailies a Marvel colleague asked “why the serious face?” I explained that was having second thoughts about chugging as much of Thors enormous beer as humanly possible (in front of a heckling cast and crew) despite the fact it was all in the name of quality VFX reference. The things…
It’s hard to say no to a job offer when it involves working with Ava Duvernay, Oprah Winfrey, Reese Witherspoon (and for the VFX geeks out there) The Revenant and Gravity VFX Supervisor Rich McBride. “Sorry you want me to what? Capture glacial lake and mountain environments as we film in the South Island of…
Back to South Korea – this time to beautiful Busan where the crew turned nocturnal in order to create a neon lit action sequence like no other. Another 3 months in post (approx 1 month per minute of the film) and my VFX Environment duties were all but done. With a bit of luck only…
Did you see this one? It was shot in Melbourne and I spent over 8 months working on set in the Special Effects department. No that wasn’t a typo. I also worked as a SFX tech for many moons on many films, but that’s another story…
While I was assigned to this motion picture it was being produced under its working title, which i can assure you was not ‘Catch a Fire’. It now seems weird knowing that this was indeed the film I was doing roto and paint on for all those months, even though I was expecting it to…
I remember the cartoon from when i was a kid. My parents would probably remember the book. I’m fairly sure we all liked the story, so it felt good to be a part of this remake even if i was a snotty nosed Rotoscope Artist. Roto isn’t as bad as they say it is. It’s…
To create this crazy film we needed hundreds of tracking markers, highly accurate camera data and around six months in Germany. I wrangled over 900 shots on Main Unit alone. They told me that no film in the history of cinematography had ever seen as many green screens as Speed Racer. I believe them. I…
If it wasn’t for those monsters my job would have been easy, but thanks to them I was a very busy VFX nerd on set for over 6 months. Hundreds of vector art diagrams along with camera and lighting data were delivered to help make the Henson creature suits come to CG life. Also, a…
Talk about a rock solid team of capable camera trackers… We churned through hundreds of shots to ensure that Rob Cohen’s army of zombie mummies ran with their feet on solid ground, while fighting The Emperors terracotta warriors on the battlefield of doom. Actually I don’t think it was called that, but it looked pretty…
