The latest and greatest from GBK
Check out this beautiful trailer from upcoming Netflix series Lost in Space.
Lots of cool shots from Important Looking Pirates (VFX Supervisor: Niklas Jacobson),BUF,Cinesite (VFX Supervisor: Aymeric Perceval),El Ranchito,The Embassy,Image Engine (VFX Supervisor: Joao Sita),Mackevision,Rhythm & Hues,
Trixter (VFX Supervisor: Michael Wortmann),
Epic breakdown from the ILP team. Great work everyone involved!
Check out some of ILP shots that made it to this brand new trailer for Everest. Looks exciting!
VFX by: ILP, Framestore, RVX, One of us, Union vfx
Read more at: http://www.everestmovie.com/
Snowcloud is looking for a VFX SUPERVISOR / SENIOR COMPOSITOR.
In-house position for the feature film SIV SLEEPS ASTRAY by Catti Edfeldt and Lena Hanno Clyne, based on the book by Pija Lindenbaum.
About the project
Snowcloud Films is producing a live action feature film for children 4-7 years old AND doing all the visual effects in its studio in Stockholm. The film will be shot in Luleå later this spring and R&D on the VFX has already begun.
About 150 vfx-shots are planned for the film, which is currently in final financing, and pre-production is planned to start in March 2015. We are now looking for the creative lead for the VFX-work, to be part of the planning and pre-production, onsite for the shooting and making sure we complete on time and on budget together with the producer Petter Lindblad, VFX-consultant Torbjörn Olsson and the rest of the team.
The position is planned to start in march and continue until september, and we plan to produce ALL VFX inhouse, working close together with the directors to optimize and make decisions on how to solve each type of VFX. We’ll also collaborate on the team to remove and simplify VFX that might be too time consuming and complex for our film, or in fact unnecessary to tell the story. The most important thing is the story of the film, and we’ll make sure it is told in the best way possible with or without VFX.
Our tools and your experience
We work with Z-brush, Maya and are currently doing R&D with Vray 3.0 and Yeti. Compositing will most likely be done in Nuke and the plates will be shot with an Arri Alexa in ProRes 4444 2K (2048 x 1152), 12bit Log-C, with some materials coming in Arriraw (greenscreen) and some in 6K from our drone shots taken by a Red Dragon Epic in 6K RAW.
We believe that you have worked in a senior capacity on a feature film or larger project before, and is willing to work across the borders of the production to make sure we solve the VFX in the best way possible within the timeframe and budget, and at the same time making sure the story comes through properly.
You live in Stockholm or can commute here, on a daily basis. You’re not set in your ways after having worked on higher budget films, but see the possibilities with a smaller team working closely with the director’s, helping them make decisions that make the VFX work possible and keeping their vision.
WE’RE NOT SUBCONTRACTING ANY WORK, ALL WORK WILL BE DONE IN OUR STUDIO.
For applications and questions, please send an email to email@example.com.
Snowcloud Films AB
118 27 Stockholm
Visitor address: Götgatan 9, Stockholm
m: +46 733 321 600
Nice breakdown from Fido.
Two hikers encounter a deer by a picturesque creek. Fido did CG manipulation of a stuffed animal to create the illusion of a living (and rather rude) deer.
Agency: Jung von Matt
Production company: Tony Petersen Film
Fido VFX crew:
Producer: Claes Dietmann
VFX Supervisor and CG artist: Anders Nyman
|ENTRANT:||MPC LONDON, UNITED KINGDOM|
|TYPE OF ENTRY:||FILM CRAFT|
|ENTRANT COMPANY :||MPC LONDON, UNITED KINGDOM|
|ADVERTISING AGENCY :||SID LEE PARIS, FRANCE|
|PRODUCTION COMPANY :||STINK LONDON, UNITED KINGDOM|
|CHRIS ALLEN||MPC||VFX PRODUCER|
|FRANCK LAMBERTZ||MPC||VFX SUPERVISOR|
|FABIAN FRANK||MPC||VFX SUPERVISOR|
|STEPHANIE KARIM||MPC||VFX LINE PRODUCER|
|SYLVAIN THIRACHE||SID LEE PARIS||EXECUTIVE CREATIVE DIRECTOR|
|DANIEL ABENSOUR||SID LEE PARIS||ART DIRECTOR|
|MARTIN WESTBERG||SID LEE PARIS||ART DIRECTOR|
|JOHAN JEANSSON||SID LEE PARIS||COPYWRITER|
|THOMAS LAGET||SID LEE PARIS||AGENCY PRODUCTION DIRECTOR|
|YAËL GUETTA||SID LEE PARIS||AGENCY PRODUCTION MANAGER|
|BEN CROCKER||STINK||PRODUCTION COMPANY PRODUCER UK|
|SYLVAINE MELLA||STINK||PRODUCTION COMPANY PRODUCER FR|
|MATTIAS MONTERO||MATTIAS MONTERO||DOP|
|DAVID MARK LEE||STINK||PRODUCTION DESIGNER|
|In this epic live-action and VFX fueled game cinematic, we follow the assault of a Galleon by pirates from the depths of the sea to the very top of the mast. Every level of the ship shows us the torments of this era and the intricate detail shows why a man might take the life of piracy – to free himself from the absurd rules dictated by almighty empires.
The film comprises of a vertical long camera sweep, starting underwater, crossing the decks of the boat and appearing on the upper deck, climbing the mast to end on Edward and the Black Flag, the strongest symbol of the Golden Age of Piracy.
In the end, Edward stands on top of it all, the king of the hill, free – almost a peaceful image. The last scene unleashes the brutality of Edward, a glimpse of his wildness.
|Ships burn and men are mercilessly slain in this brutal cinematic which seamlessly blends epic live action with complex VFX techniques. The ambition was to capture much of the action in-camera and then integrate bespoke and highly complex VFX to create a gritty, yet realistic spot that keeps the authenticity of the game intact.
The interaction of the live action footage between the CG and 2D environments is paramount – with a high level of detail taking place in the foreground, mid-ground and distance as we pan-up through the ship.
During pre-production a full 3D pre-vis was created of the ship and the concurrent camera move.
The opening eerie underwater environment was filmed in a tank. The floating men were captured on five different plates, which were composited together and enhanced with light effects, debris and bubbles. The boat hull, as the camera transitions upwards, is CG.
The high-action scenes above water are a clever mix of in-camera action and integrated shot and 2D elements. The intensity of the action required separate plates, utilising green screen and the set, which were composited together. Matte painting was used for extensive set extensions and boat environments. Realistic particle and water effects were created from scratch. The addition of CG fog and smoke elements give the impression that the camera is in the thick of the action.
The final stunning wide shot was created by concept artists using matte painting; complete with burning ships, palm trees and a cloud filled sky.
Vfx heavy tvc for Samsung galaxy made by Psyop including a few of the best football players in the world.
Swiss updated their site with the vfx breakdown of Postnord project.
Producer: Mattias Bengtsson
VFX Supervisor: Jan Karlström
Director: Peter Harton
Production Company: Standart
Agency: Forsman & Bodenfors
Some mixed new stuff from Magoo in Söderhamn – from some fluid sims to some logo action,