Busy Digital Domain, Weta Imbued, & VES Show & Tell...

Finding A VFX House For CG Heavyweight Avatar

(yemabef.blogspot.com)                 The competitive race among four VFX houses for the assignment to supervise the film's visual effects was ultimately won by Peter Jackson's Oscar-winning Weta Digital, which worked on "Rings." 

"Any one of the big effects companies could have handled the volume of shots, the scale of the project, and handled the technology," Cameron said. "Joe Letteri and his team had a history of translating facial performance capture to really good photo-real characters. The culture there is imbued from the head down with a passion for fantasy filmmaking. And they met us halfway on the price.

We're 2 1/2 years out, and we've already shot 10 minutes of the film. The FX guys are working, the characters are designed, animators are already working."

Sony Imageworks Exec Rolls DICE

(variety.com)              Sony Pictures Digital topper Yair Landau will be the keynote speaker at the vidgame industry's DICE summit in February.

Sponsored by the Academy of Interactive Arts and Sciences, DICE is a confab for vidgame developers and execs held each year along with the Interactive Achievement Awards, the vidgame industry's equivalent to the Oscars.

Landau is the first film studio exec to get a keynote slot at DICE, where most of the speakers come from game publishers and developers.

Exec, who oversees Sony's Imageworks FX house and animation division, as well as the studio's web ventures and its Sony Online Entertainment PC game division, will speak about the creative process for effects and CGI animation, which is increasingly crossing over with vidgame production processes.

DICE will be held Feb. 7-9 at the Green Valley Ranch in Las Vegas.

Return of the King Grossed Biggest Virtual Body Count

(stuff.co.nz)            The Return Of The King had the highest body count of any movie in history, according to a website for film fans.

Director Peter Jackson killed off 836 characters in the third part of the Lord Of The Rings saga, made in 2003, which featured one of the biggest battles seen on film, according to the website moviebodycounts.com.    

Jackson also scored a quinella on the cinema slaughter list by killing off 468 characters in the second part of the LOTR trilogy, The Two Towers, in 2002.

The website counted only the corpses whose faces could be seen.

A 1992 Hong Kong action movie, Hard Boiled, directed by John Woo, placed third with 307 corpses: its Chinese title was God of Guns and it featured a 30 minute shoot-out in a hospital.

Stephen Spielberg's 1998 World War II movie Saving Private Ryan – noted for its graphic battlefield violence – only took sixth place with 208 corpses.

Another 2003 film noted for its violence, Quentin Tarantino's Kill Bill: Vol 1 was 30th, with 95 corpses.

3D-izing Robinson's First, Then Pirates 3 At Digital Domain

(digitalgypsy.com)                Experpt from digitalgypsy.com:    Yep, it just gets crazier and crazier. In addition to creating stereoscopic comps, I'm also pumping them out one every other day or so now. Mind you, it's pretty straightforward. I'm not doing a huge amount of creative work, but a lot of problem solving, splitting shots in different layers so I can project them in 3D, and doing occasional clean up and pick up work. So far I've finalled about 30 shots in the two months I've been on the show (I started on this show on November 5th), and I've got four that I'm working on now. I'm switching gears pretty soon though.. Going from Robinsons land to Pirates land in a couple weeks. Meet The Robinsons was a transition show for me while they ramped up for Pirates, and now it's getting into full swing. They say that there'll be some sweet work for me to do once I get on.. The kind of shots that'll take me the entire show to do. Nice. Finally something I can sink my teeth into.

As it stands now, I will not be attending the VES Show & Tell again this year! Work has me committed this weekend, as next Monday is a holiday. I guess my 55+ hours a week isn't enough! My next huge break will most likely be in March or April, whenever we deliver Pirates. Then, I can tackle all the projects that have fallen on the back burner.

Source:  http://www.digitalgypsy.com/vfxlog/

Peter Jackson To New Line:  Show Me The Money!

(rottentomatoes.com)            "Just yesterday we reported that New Line was very mad at once beloved director Peter Jackson and also that he pretty much blacklisted the filmmaker from ever darkening the NL doors again. Less than 24 hours later, we have a response from Mr. Jackson.

Here's exactly (and completely) what the man had to say:

"Our issue with New Line Cinema has only ever been about their refusal to account for financial anomalies that surfaced from a partial audit of The Fellowship of the Ring. Contrary to recent comments made by Bob Shaye, we attempted to discuss the issues raised by the Fellowship audit with New Line for over a year but the studio was and continues to be completely uncooperative. This has compelled us to file a lawsuit to pursue our contractual rights under the law. Nobody likes taking legal action, but the studio left us with no alternative.

For over two years, New Line has denied us the ability to audit The Two Towers and Return of the King despite repeated requests. Film auditing is a common and straightforward practice within the industry and we don't understand why New Line Cinema has taken this position.

In light of these circumstances, I didn't think it was appropriate for me to be involved in New Line Cinema's 40th Anniversary video. I have never discussed this video with any of the cast of The Lord of the Rings. The issues that Bob Shaye has with the cast pre-date this law suit by many years.

Fundamentally, our legal action is about holding New Line to it's contractual obligations and promises. It is regrettable that Bob has chosen to make it personal. I have always had the highest respect and affection for Bob and other senior management at New Line and continue to do so."

VFX Contenders Dissected At 2007 VES Show and Tell

(animationmagazine.net)             VES Award nominees were chosen on Saturday, Jan. 6, by a panel of more than 80 visual effects professionals, all VES members. VES executive director Eric Roth says they received 30% more submissions than they saw last year, with entries coming in from seven different countries. All nominees will be able demonstrate their effects prowess during the VES Show And Tell Event, taking place again at the Skirball Cultural Center in Los Angeles on Jan 13. The event is ree to all VES members and is open to the public at $20 per ticket.

“The sophistication of the work increases constantly.” says Jeff Okun, VES Awards Committee Chair. “We’re now at the point where even the industry professionals can’t tell what’s real and what’s a visual effect. Our Show and Tell gives the artists a chance to show their colleagues and the public what the current state of the art is. I know I always learn something new at this event and that’s what makes it vital to the concept of competing for awards. Our voters are educated.”

Here's the schedule of events for this Saturday. This is a day long event, with breakfast and lunch provided.

-Outstanding Visual Effects in a Visual Effects Driven Motion Picture
-Outstanding Supporting Visual Effects in a Motion Picture
-Outstanding Visual Effects in a Broadcast Series
-Outstanding Supporting Visual Effects in a Broadcast Program
-Outstanding Visual Effects in a Commercial
-Outstanding Real Time Visuals in a Video Game
-Outstanding Created Environment in a Live Action Motion Picture
-Outstanding Created Environment in a Live Action Broadcast Program, Commercial or Music Video

Attendance is free for VES members, $20 for general admission and $10 for students (with valid ID). To purchase tickets or RSVP contact Lynda Curland at the VES office via email or call 818-981-7861.

It will be held at the Skirball Cultural Center, 2701 Sepulveda Blvd. LA, 90049, starting at 9am!

CG "Ringo" To Be Released Later This Year

(ringostarr.com/)              "Ringo" (the Stan Lee animated feature) to be released later this year on DVD

At 84 years of age Stan Lee is proving that the creative spirit never dies.

Iconic comic book creator, Stan Lee, is working with Starz Home Entertainment on 'Stan Lee Presents,' a franchise of animated features produced by Lee's POW! Entertainment and the Starz-owned Film Roman animation studio. The third installment in the "Stan Lee Presents" presents series is Ringo, a musical comedy that tells the life story of ex-Beatle Ringo Starr, voicing himself, as if he were a superhero.

"We're very excited," states Lee. "The DVDs should appeal to the same audience as those who enjoy Marvel comics." The first DVD in the series, "Mosaic", will come to DVD Jan. 9 followed by "The Condor", due March 20.

Pixar's Latest Rival:  France

(csmonitor.com)               If the "enfant terrible" of Gallic filmmaking is making movies for "les enfants," big changes must be afoot in French cinema. Luc Besson, the director reviled by some fellow citizens for Paris-goes-to-Hollywood action films such as "La Femme Nikita," "The Messenger: The Story of Joan of Arc," and "The Fifth Element," has entered the lucrative market of digital animation. His new pic, " Arthur and the Invisibles," about a boy who enters the miniaturized world of backyard creatures to save his grandparents' farm, and featuring the voices of Madonna, David Bowie, and Robert De Niro, opens nationwide Friday.

Already a hit in Europe, "Arthur" signals an important milestone in French animation: with a reported $80-million price tag, it's the first big-budget French export vying to compete with American animated features.

"What happened recently, in the last 30 years, is that the Americans are so good, between Walt Disney and Pixar," says Besson via telephone from Paris, where "Arthur" was filmed. "They are really big and good. It's hard from Europe - your country is so small - to feel the courage to try."

But "Why not?" Besson asked himself. So try he did.

"Arthur" marks the height of a new wave of French animation which began with Sylvain Chomet's 2003 sleeper, "The Triplets of Belleville." Eight feature-length cartoons were produced in 2005, France's biggest year on record. According to The Hollywood Reporter, France has at least a dozen more currently in development or production.

The US dominates the worldwide cartoon market, using its proven formula of family friendly plots, fuzzy animal characters, and name-brand voices. In trying to beat the Americans at their own game, Besson doesn't feel he has anything to prove. He knows France, like other rising-star countries in the field, such as England, Spain, Japan, and Korea, have their own visions to impose on the exploding art of animation.

"It will be different. We don't have the same money," says Besson. "The diversity of expression is our best ally."

Another ally is France's Centre National de la Cinématographie (CNC). "The national strategy is to develop animation," says Serge Bromberg, artistic director of the Annecy International Animation Festival. "Animation is considered ... one of the favorite techniques for cinema in the future." The government provides direct financial assistance from the CNC and tax breaks for filmmakers.

The administration stands a good chance to recoup its investment. America has taught French producers that animation can be a moneymaker. With recent hits such as "Kirikou et les bêtes sauvages" ("Kirikou and the Wild Beasts"), France is even beating back the US hegemony. In 2005, homespun productions grabbed 15 percent of France's animated-film box office, up from 6 percent a year before.

But the US model has its pitfalls. For every "Cars," "Happy Feet," and "Ice Age 2" - all Top-10 grossers in 2006 - there are duds such as "Flushed Away" and "The Ant Bully." The kids market is clearly oversaturated with product. The real growth potential might be for animation aimed at adults, a genre for which France is particularly well suited.

"Today, no one has made a hit with adult animation. It's going to be a new field that's opening up," claims Christian Volckman, director of last autumn's animated sci-fi noir "Renaissance." In a nation where men unselfconsciously consume bande dessinée, or "BD" (comic books) with adult themes, and the biggest audience for a movie like "Shrek" was the 35-to-49-year-old demographic, more pictures like "Renaissance" should continue to thrive.

The question is whether French animated movies can do well overseas. For instance, the British-French coproduction "Pollux - Le manège enchanté" (aka "The Magic Roundabout") tanked on this side of the pond, even when retitled "Doogal" and redubbed with American talent.

"The biggest challenge for French animation is conquering the US and English-speaking market," says Rodney Figueiredo, a writer for "Animated Views," via e-mail.

All eyes will be watching the US bow of "Arthur and the Invisibles." Though Besson had claimed that he would focus exclusively on producing from now on, early box-office reports of the movie's huge success in France has persuaded him to turn the one film into a threequel.

"I don't take my adult films very seriously," says Besson. "I take kids very seriously."

If they take him seriously, Besson may never return from their invisible world.

Innovative Director Sends Entire Film Crew Back in Time

(filmsatthesedgwick.com)               Director Chris Noonan created quite a buzz around Hollywood this week when he confirmed rumors that he sent his entire cast and crew back in time to create his new film, Miss Potter, which is based on the life of artist and writer Beatrix Potter. Although Noonan did reveal in his press release that he made use of a new Hollywood firm, Time Flies, to transport 120 people, seven cameras, and $15,000 of generators and lighting equipment over 100 years back in time, he remained tight-lipped about the experience…until now. Noonan spoke with us Friday via telephone from his London home.

The Formula: First of all Chris, congratulations on your new film and being the first to person to the entertainment industry to travel back in time.

CN: Thank you. Although I should note, I wasn’t the first. Elizabeth Taylor has been stuck in the time stream for a few years now, searching for her career.

The Formula: Now, tell us Chris, why time travel? Why not just build sets like everyone else?

CN: I just wanted the film to have that certain realism that other recent historical films have failed to capture. As directors, we do our best to recreate a scene – but why recreate it when you can just use the original? Why hire a costumer to create period costume when you can just walk into an actual 1902 dress shop? And why give your actors books to read about their characters when they can just meet and learn from the actual people?

The Formula: We understand that there was actually some push back from the cast on that front.

CN: Yes, that was a point of contention. I wanted Renée [Zellweger] to introduce herself to Beatrix, tell her we were making a film about her life, and study with her a while. Renée insisted that it would disrupt the future, though, and wouldn’t do it. I thought I was going to have to find another actress. But in the end we were able to arrange a couple of lunches between Beatrix and Renée under the guise that Renée was a distant cousin, and it worked out.

The Formula: Do you think that time travel has the possibility to eliminate special effects in movies such as Jurassic Park?

CN: Yes and no. Of course, we could get shots of actual dinosaurs; that would be great. But I have no idea where we’d find enough extras willing to be eaten. Or, for that matter, I don’t even know if dinosaurs would actually want to eat humans. We’re so presumptuous assuming that they would. That said, I have received a strongly worded letter from George Lucas on behalf of the employees at his Industrial Light and Magic firm. He said, and I quote, “Their children are crying child-tears.”

More:   http://www.filmsatthesedgwick.com/formula/2007/01/innovative-director-sends-entire-cast.html