My thanks to Fox Renderfarm for coming on board as a new sponsor of vfxblog.com. I’m grateful to them for helping me continue publishing a whole bunch of original content here, including retro VFX pieces.
Many VFX and animation studios already rely on Fox Renderfarm for cloud rendering, and they are one of the leaders in the field. There’s a bunch of case studies of companies and how they’ve taken advantage of Fox Renderfarm here.
vfxblog readers will soon be able to access some exclusive rendering credits from Fox Renderfarm with a special sign-up code. Look out for that on my Twitter feed.
And if you’re also interested in sponsoring vfxblog, please email me.
Filmed in Sydney and released 20 years ago this week in 1998, Alex Proyas’ Dark City surprised many by instantly becoming a neo-noir sci-fi classic. Fans of Proyas’ earlier works, including The Crow, were perhaps not surprised at the director’s adept skills in crafting a film around a dark sun-less world run by a mysterious group known as the ‘Strangers’.
Helping Proyas to achieve a distinctive look and feel to Dark City was Peter Doyle. Doyle is best known as championing the digital colour grading on Peter Jackson’s TheLord of the Rings trilogy, as well as lending his colorist skills on the Harry Potter films. Now he’s a supervising visual colorist at Technicolor, with recent credits on films such as Fantastic Beasts and Where to Find Them, Darkest Hour and Paddington 2.
But before Lord of the Rings and all those other blockbuster films, Doyle made his mark at Dfilm in Sydney, a film production services lab formed in 1995 that Doyle joined to help establish a wider digital post-production ambit. One of Dfilm’s first prominent gigs in that regard would be Alex Proyas’ Dark City (the company would later go on to work on The Matrix, also filmed in Sydney).
On Dark City’s 20th anniversary, vfxblog asked Doyle, who is credited as visual effects creative director on the film, about his time on the project, which came right as traditional film workflows were truly transitioning to digital, and as Australia’s own visual effects industry was just ramping up. Continue reading Dark City at 20: a conversation with colorist Peter Doyle
Over the past few months, I’ve seen some incredible – incredible – VFX breakdowns posted by the various studios behind the effects in Blade Runner 2049 (overall supervisor John Nelson). So here’s a whole bunch of them in one place at vfxblog. I’m sorry if I’ve missed any of the major work, please let me know.
Joe Letteri. Chris Townsend. John Nelson. Stephen Rosenbaum. Ben Morris. They all weigh-in in this piece for Cartoon Brew on how they worked with their director.
An amazing part of this piece is that I was able to speak to three of these visual effects supervisors (John Nelson, Joe Letteri and Chris Townsend) at VIEW Conference in Turin, Italy in October 2017. That’s three Oscar-nominated supervisors at the one event (incredibly, VIEW in 2017 also featured the Oscar nominated animated features The Breadwinner and Loving Vincent).
If you haven’t been to VIEW before, I strongly recommend it – in 2018 the conference is on October 22-26. It’s a small event compared to say a big SIGGRAPH or FMX, but this intimacy is VIEW’s selling point. You actually get to interact with the speakers themselves, and they are presenting on THE big films and projects of the year, as evidenced by the Oscar nominees who tend to be there.
Keep an eye out on vfxblog.com for information on what will be coming up at VIEW this year.
The creatures and characters you see in some of the biggest films and television shows are the result of countless hours of design, research, re-design and skilled artistry. Among the most prolific of creature and characters designers is the team at Aaron Sims Creative, headed up by design veteran Aaron Sims.
In recent times, ASC has worked on designs and visual effects for such projects as The Mist, It, War for the Planet of the Apes, Wonder Woman and Stranger Things 2. To do that, they follow what’s dubbed a ‘Sketch-to-Screen’ workflow involving concept design, key scenes and layout, 3D asset modeling, lookdev, rapid prototyping and previs, rigging, animation, compositing and final rendering.