Visual effects and animation journalist Ian Failes
It always amazes me what people do in Blender, and that the software is open source. Was great to find out about the Blender Institute’s newest project, Agent 327: Operation Barbershop – which has film-quality visuals and style. Check it out at Cartoon Brew.
Oh, and the huge gay sex scene. Here’s how the VFX team managed to make those things possible. Their work on the show is incredible.
This incredible animation by Nikita Diakur called Ugly was done by deliberately making mistakes inside C4D. I talked to the animator about how he accomplished it, for Cartoon Brew.
Here’s my second piece for Thrillist on American Gods, which dives into the Bilquis scenes where she consumes people…as in, consumes via her vagina. It’s crazy!
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.
Luc Besson’s The Fifth Element is now 20 years old, a fitting anniversary on the eve of the release of the director’s much-anticipated Valerian. Of course, Besson’s new movie is being made possible with major advancements in digital effects and animation. Back in 1997, the visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain.
Perhaps most memorable are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. vfxblog re-visits the work, both miniature and digital, with The Fifth Element’s visual effects supervisor Mark Stetson. Continue reading “Multi pass and motion control: re-visiting the VFX of ‘The Fifth Element’”
It’s already here, but the work of Epic Games with its Unreal Engine in recent projects is showing just how much influence real-time can have in VFX. Here’s a new article for VFX Voice about the Human Race project carried out with The Mill’s Blackbird tech.
It’s kind of amazing where vfx in TV is going, isn’t it? American Gods is one of the new shows with such innovative and story-related VFX. I talked to the VFX team for both Thrillist and Cartoon Brew. You gotta see this show.
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