For Nissan’s Return of the Snowman spot, visual effects specialists The Embassy in Vancouver banded together with post house Alter Ego in Toronto. The Embassy is well known for its photo-realistic, hard surface VFX work, from creating the digital Iron Man suits for all three films to building massive drop ship hangers for The Hunger Games trilogy. Having worked on countless commercials with Alter Ego, The Embassy made the decision to become part of the creative process for grading, to improve the efficiency and precision of their VFX work and present a consistent preview to their clients.
Designing a precise color workflow during pre-production can save motion picture projects time and money. The larger and more complex the project, the more the potential for savings. Digital imaging technician Francesco Giardello (Pan, Game of Thrones, Ben-Hur, Thor: The Dark World) can accurately be described as a pioneer in the use of the Academy Color Encoding System on-set. He recently designed a set-to-post color workflow using ACES for the movie Life, directed by Daniel Espinosa and starring Jake Gyllenhaal, Rebecca Ferguson and Ryan Reynolds. This space thriller from Sony tells the story of the crew aboard the International Space Station and what happens when they encounter extra-terrestrial life in the form of an organism they name Calvin. On Life, Giardello worked closely with cinematographer Seamus McGarvey ASC BSC. The main cameras used were Arri Alexa 65s although, according to Giardello, several other cameras were also utilized. I spoke with Giardello about the color workflow used on Lif
PHD has been launched in Los Angeles as a new collective led by visual effects industry veterans John Hughes and Helena Packer and film/TV/commercials director Kevin Donovan. The company, a full service post-production house working across the genres of VR/AR, independent films, documentaries, select TV projects including limited series, and commercials, also offers clients live action production services. PHD has offices in Los Angeles, India, Malaysia and South Africa.
BAFTA and multi-award winning production studio Jellyfish Pictures has opened two new virtual visual effects facilities in Oval, London, creating what it believes are the first virtual VFX studios in Europe and marking great advancements in the way VFX practitioners work. The new sites are in addition to Jellyfish Pictures’ established studios in Brixton, South London, and Fitzrovia, Central London, and increase capacity by a further 70 artists, taking the company’s total workforce to nearly 200 employees.
The FuseFX Los Angeles crew recently provided visual effects services for two projects by Oscar-winning writer/producer/director John Ridley – the anthology series American Crime and the feature-length documentary Let It Fall, which aired April 28.
FuseFX has hired 18-year visual effects industry veteran Jon Cowley as head of production and senior VFX supervisor at its production facility in Vancouver. Cowley will oversee production activity at the facility lead its team of VFX supervisors on projects including the television series Zoo and Mist. He brings deep experience as a manager, supervisor and artist with credits including the blockbusters Furious 7, TRON: Legacy, The Great Gatsby, and District 9. Most recently, he served as a client-side VFX supervisor on the Netflix television series Lemony Snicket’s A Series of Unfortunate Events.
FuseFX, which produces visual effects for such shows as Agents of S.H.I.E.L.D., American Horror Story, Luke Cage and Criminal Minds, has launched a spinoff venture to tackle projects in the rapidly expanding field of virtual reality. FuseVR will create visual effects assets for virtual reality projects, including 3D sets, digital environments and CG characters. The effort will be led by Bud Myrick as VR supervisor and John Heller as VR creative director.
Jerome Dewhurst has joined Roundabout Entertainment’s technical staff as chief color scientist. Dewhurst will oversee and manage the color pipeline for the facility’s growing digital intermediate and color correction operations, and set best practices for color company-wide. He will also lead research efforts to develop new software, technologies and services related to color management.
Sony Pictures Imageworks has deployed Avere Systems’ FXT Edge filer 5600 clusters to support the studio’s ongoing render farm expansion and to ensure non-disruptive scalability. Imageworks uses Avere technology to help it deliver award-winning visual effects and animation while staying on budget and meeting demanding production timelines
The Indian post-production house FutureWorks is currently celebrating a decade in business. Senior colorist Rahul Purav spoke with Digital Cinema Report about the process of color grading and about some of the many films projects the company has worked on over the years.