Dracula Year Zero, VFX Salaries, & $1Mill to do Hindi VFX?
Proyas Helming Dracula Year Zero
(Variety) Alex Proyas will direct Dracula Year Zero,
Universal's origins tale about Vlad the Impaler, reports Variety.
The film, being produced by Michael De Luca, is one of several in the
works about the Romanian royal who inspired Bram Stoker's vampire
tale.
The trade says that Proyas (I, Robot) was attracted to the script by
Matt Sazama and Burk Sharpless, enthusing over their "fresh take on
the legend."
He said the project manages to play off the horror and the sympathy
you have for a character that "sells his soul to the Devil to save his
kingdom and family."
The writers, who set up the project a year ago, said the goal was to
show Vlad when he was still vital and to explore the fact that he's
considered a hero in Romania for fending off the Turks.
"Usually when you see him, he's past his prime and 100 years old," Sazama said.
"In our movie, he's at the height of his powers," Sharpless added.
Dueling Dracula projects set up around town include The Historian, a
contemporary book about the search for Vlad the Impaler's grave that
Brad Caleb Kane is adapting for Sony's Red Wagon, and Castlevania, an
adaptation of the popular video game for which Rogue recently signed
up director Sylvain White (Stomp the Yard).
Industry Wage Guide: VFX & Animation
(forums.cgsociety.org) Have you ever wondered what animators and
other artists are making at some of the larger studios, and even a lot
of the mid/smaller places? In fact, this method can be used for just
about every job available in any field. The employees themselves are
sometimes shy about revealing what they make and data from the union
is strictly voluntary polling. Want to hear real numbers? Keep
reading.
Before anyone asks, I'm not breaking any sort of rules by listing this
information. It is publicly available to everyone.
Here are some recent examples from Pixar (please note that some of the
numbers could be a year old).
STUDIO NAME / POSITION / YEARLY SALARY
PIXAR / ANIMATOR / 60,000
PIXAR / LAYOUT ARTIST / 90,000
PIXAR / TD / 69,700
PIXAR / ANIMATOR / 73,000
PIXAR / TD / 85,313
PIXAR / SOFTWARE ENGINEER / 110,000
PIXAR / ANIMATOR / 110,024
PIXAR / TD / 108,194
Not bad. Some of these guys are pulling in good salaries. Let's move
on to DreamWorks and see what they are making in Glendale.
DW / SOFTWARE DEV / 76,898
DW / VIS FX SUPE / 176,800
DW / ANIMATOR / 102,066
DW / ANIMATOR / 121,576
DW / LIGHTER / 101,581
DW / CHAR TD SUPE / 156,000
DW / MODELER / 114,400
DW / HEAD OF LAYOUT / 105,000
Of course I didn't list all of the salaries available. Just a
sampling. Let's move on to Sony and see how they are doing.
SONY / TD / 131,040
SONY / TD / 112,320
SONY / ANIM SUPE / 130,000
SONY / SENIOR TD / 112,320
I could go on and on and on. The point is, this information is
available to anyone and everyone. The trick is that the data only
represents what was made by those who were hired under an H-1B. I'm
sure some employers would not be happy about this being released to
the public, but that isn't our problem. Their beef is with the system,
not with some person simply letting you know that it is available.
Have some fun and check out what people are making at other studios. I
gave the following a try and found data for each: Digital Domain,
Blur, Walt Disney, Lucasfilm, Industrial Light & Magic, Rhythm & Hues,
The Orphanage, Wild Brain, Pacific Data Images, Blue Sky, Pixar, Sony,
and DreamWorks.
What a great resource for those looking to get an idea of their value
or those like me that are just busy-bodies!"
Source: http://forums.cgsociety.org/showthread.php?t=514580
Other studio info: http://www.flcdatacenter.com/CaseH1B.aspx
3-D Wizards Capture Harry Potter
(cosmiclog.msnbc.msn.com) What kind of magic spell does it
take to turn one of the biggest blockbusters of the summer, "Harry
Potter and the Order of the Phoenix," from a two-dimensional film into
a three-dimensional experience? It's not magic of the Hogwarts kind.
And it's not a simple incantation in computer code. "It's about 120
highly technical, specialized people who are the finest 3-D engineers
in the world," says Greg Foster, chairman and president of Imax Filmed
Entertainment.
Those engineers toiled over their computers for six weeks - first to
convert the movie's 20-minute finale into digital 2-D data, then to
add the third dimension to that virtual world. The magic trick puts
one more twist in the road leading to the films of the future. And
speaking of virtual worlds, Imax is branching out into the online
realm known as Second Life to promote its latest 3-D blockbuster.
Imax specializes in large-format movies that are designed to be shown
in custom-built theaters, on giant screens with immersive sound
systems. In some cases, 3-D movies are created that way from the
beginning, with a double-camera system filming every scene. But in
other cases, the 3-D effect is basically manufactured after
production. Imax uses a proprietary system called DMR ("Digital
Re-Mastering," as explained in this PDF file) to render a 2-D movie
digitally, then create a virtual 3-D space that can be captured on two
separate spools of 70mm film.
"It is a meticulous, manual process," Foster told me last week. "It is
not an automated process, just like making a movie is not automated.
There are certain parts within a scene that have to be handled
differently from another sequence."
At first, DMR was used merely to make the typical 2-D movie shot in
35mm look good on Imax's seven-story-high screens, but last summer the
DMR wizards took the plunge into 3-D with "Superman Returns." Frame by
frame, the computer wizards separated out and filled in the various
spaces and dimensions of the characters and objects - creating an
idealized 3-D space that is brought to life through polarized goggles.
"Superman Returns" did well enough that Imax and Warner Bros. Pictures
decided to give "Harry Potter" the 3-D treatment as well. This time,
instead of spreading out the 20 minutes of 3-D time among four
separate scenes, the good stuff comes where it naturally should:
during the film's climactic battle.
Foster said the 3-D show brought the house down last month during a
preview for exhibitors at Cinema Expo International in Amsterdam, with
the audience "grabbing and ducking and laughing in a great way."
He was reluctant to describe exactly what will wow audiences the most.
"Let's just say it involves a lot of mirrors and glass popping out at
you," he told me. "It's a really, really cool sequence. I would be
flabbergasted if someone saw it and didn't duck."
To promote the movie, Imax is entering a completely different realm of
3-D graphics: the virtual world of Second Life, which millions of
users experience through online personas known as "avatars." In Second
Life, you can cast yourself as a diva or a dragon, buy virtual
clothing, property and furnishings - and create your own fantasy world
if you're so inclined.
Imax's Second Life presence is relatively down to earth: You can
teleport yourself to Imax's virtual office and load up on giveaways
such as T-shirts, director's chairs and 3-D goggles (although when you
wear the goggles, an annoying black box advertising the "Harry Potter"
movie appears over your head - and it won't go away until you take off
the goggles). While you're visiting, you can watch a trailer for the
movie (but of course you can do that virtually anywhere online).
As you make your way through Second Life, you might run across Imax's
"street teams," ambassadorial avatars who are talking up the movie as
well as giving away free tickets to real-life showings (through the
magic of Hollywood Movie Money).
Foster said the promotion is aimed at cultivating a new crowd of Imax
moviegoers. "Basically, we were cool until kids were, like, 12 or 13
years old," he explained. "From 13 to 30, when you became a mom or dad
or an aunt or uncle, they stayed away from us. And as you know, that's
the prime moviegoing crowd."
So what's the next frontier for 3-D movie fans? Well, do you remember
"Polar Express," the 3-D animated feature directed by Robert Zemeckis?
Foster is already talking up the Imax 3-D version of Zemeckis'
upcoming movie, "Beowulf," which will be a live-action,
motion-capture, animation hybrid. That treatment lends itself to a
more thoroughgoing 3-D conversion.
Step by step, such wizardry is turning the moviegoing experience into
something you just can't get on DVD. "Our whole key is
incrementality," Foster said. "In everything we do, we're focused on
bringing extra customers to the movies."
Are the results worth all the trouble? What factors do you take into
account when you decide whether to see a movie in the theater or wait
for the video? Do you have a favorite 3-D movie moment, or do you
think the technology is still a headache-inducing gimmick? Feel free
to weigh in with your views on the future of movies, or your reviews
of the latest "Harry Potter" epic.
Kevin Spacey Set for Superman Sequel
(Variety) Kevin Spacey will return as Lex Luthor in Superman:
Man of Steel and appear in Telstar, Nick Moran's film version of Moran
and James Hicks' 2005 darkly comic West End play about flamboyant '60s
record mogul Joe Meek.
Variety says that "Superman" director Bryan Singer met with Spacey in
New York while the latter was appearing on Broadway in Eugene
O'Neill's recently wrapped "Moon for the Misbegotten." Singer was
about to pitch his "Man of Steel" sequel to Warner Bros.; Superman
Returns screenwriter Michael Dougherty is now writing the screenplay.
After Singer completes Valkyrie and The Mayor of Castro Street, he
plans to start production on "Man of Steel" next year for a 2009
release.
Spacey hopes to shoot his Luthor role in a six-week block, as he did
on Superman Returns, after he completes his run in David Mamet's Speed
the Plow in April.
Star Wars CG Modeling Tribute Heats Up
(forums.cgsociety.org) 30 years Star Wars exploded into world cinemas,
and it forever changed the film industry.
On May 25th 1977 Star Wars had it north American release, and
it would grow to be one of the most successful film franchises ever.
THE CHALLENGE:
Sculpt one or more representations of the Star Wars characters/
creatures in 1 month and two weeks (See the provided list). The idea
of this "mini-challenge" is to simulate an impossible deadline for a
project. The artists will have at their discretion how detailed the
models they will be working on, and the amount of models, and if the
models will be shaded/ rigged. But the model will have to be original
film interpretation.
Three contestants:
http://features-temp.cgsociety.org/gallerycrits/264653/264653_1183789472_large.jpg
http://download.cgsonic.com/hmc9/HMC9_Geonosis_and_Orray_beauty.jpg
http://forums.cgsociety.org/showthread.php?p=4506390#post4506390
Your New "Barbarella" is...Halle Berry?
(rottentomatoes.com) If you've been viewing the periodic news
burbles about producer Dino de Laurentiis' long-planned remake of
"Barbarella" with suspicion, you're in good company. Heck, at one
point, Drew Barrymore was supposedly being considered for the role,
and that's just silly. Oh, and speaking of silly? Entertainmentwise is
reporting that the new 'rella will be none other than -- wait for it
-- Halle Berry.
Not only was the 1968 original a cult classic that wasn't exactly
begging for a new coat of paint, but various parties have been
threatening to put a new "Barbarella" together for years.
From a certain point of view, this (as-yet unsubstantiated) report is
scoff-worthy -- Berry is an Oscar-winning actress, not the kind of
script-gobbling doofus that would willingly sign up for this kind of
project. Then again, the new "Barbarella" has a pretty good pedigree
-- it's being written by "Casino Royale" scribes Neal Purvis and
Robert Wade, and directed by Robert Rodriguez.
We also can't forget (try as we might) Berry's post-Oscar involvement
in noteworthy turkeys such as "Perfect Stranger," "Gothika," and, of
course, "Catwoman."
Disney to Present Prince Caspian and WALL*E at Comic-Con 2007
(news.awn.com) Walt Disney Pictures will offer exclusive
footage and panel discussions with the filmmakers of THE CHRONICLES OF
NARNIA: PRINCE CASPIAN and Disney-Pixar's WALL*E at Comic-Con. The
presentation will be conducted on Saturday, July 28, 2007at 2:15pm in
Hall H.
The PRINCE CASPIAN team will include director Andrew Adamson, producer
Mark Johnson, Weta Workshop's Richard Taylor, special make-up and
creatures supervisor Howard Berger, visual effects supervisor Dean
Wright and costume designer Isis Mussenden, as they answer questions
and share their experiences of filming PRINCE CASPIAN around the
globe. Also, be sure to collect the exclusive PRINCE CASPIAN Comic-Con
poster, designed by fans on Narnia.com and selected by Adamson.
The year is 2700. WALL*E, a robot, spends every day doing what he was
made for. But soon, he will discover what he was meant for. From
Academy Award-winning director Andrew Stanton (FINDING NEMO), WALL*E
is the story of one robot's comic adventures as he chases his dream
across the galaxy. Stanton and Academy Award-winning sound designer
Ben Burtt (STAR WARS, ET) will be on hand to screen footage and answer
questions.
John Knoll on CGI, Tron and 25 Years of Change
(computerworld.com) -- In 1982, Disney studios released Tron, one of
the first films from a major studio to feature extensive computer
graphics. The movie is about a programmer (played by Jeff Bridges) who
gets "digitized" and finds himself inside a computer where he is
forced to play the gladiatorial games he wrote. (Bridges' character
eventually escapes and sets out to topple the despotic Master Control
Program, or MCP.) Even though Tron was something of a milestone for
computer-generated imagery, it met with little success at the box
office and failed to garner a special effects nomination from the
Academy of Motion Picture Arts and Sciences. At the time, the academy
considered the use of computers in films as "cheating."
Monday marked the 25th anniversary of the release of Tron, whose
computer graphics were seen as revolutionary at the time. With that
anniversary in mind, Computerworld spoke with John Knoll, a visual
effects supervisor at Industrial Light & Magic (ILM). Knoll, who
served as visual effects supervisor for such films as Star Wars
Episode III: Revenge of the Sith, Pirates of the Caribbean, Star Trek:
First Contact and Mission: Impossible, weighed in on the limitations
of CG back then and how far it has come in the past quarter century.
(Knoll may also be known in the IT world for his role in the creation
of Photoshop, which he developed with his brother Thomas.)
Excerpts from that interview follow:
Tell me about your first encounter with Tron.
I saw Tron when it came out and thought it was really cool --
something unique and different that hadn't been seen in the cinema
before. I was really captivated by the imagery. I was working in
visual effects at the time as a model maker, and then as a cameraman,
and computer graphics was something I thought was really fascinating.
But Tron and The Last Starfighter were two things that definitely got
me thinking in those lines.
When did you become involved in computer graphics?
I was hired at ILM as a motion-control camera assistant, working as a
camera operator for a while before I moved over to the computer
graphics department. Part of it was just convenience: ILM was the
first place I'd ever worked at that had a computer graphics
department, so there was the opportunity to go over and visit.
More: http://www.computerworld.com/action/article.do?command=viewArticleBasic&articleId=9026719&pageNumber=2
"Sin City" Sequels Are Delayed, But Still Coming
(rottentomatoes.com) The good news is that Frank Miller and
Robert Rodriguez are still planning to do TWO "Sin City" sequels. The
bad news is that it just might take a little longer than expected.
With Rodriguez now busy with his "Barbarella" remake and Miller
getting ready to shoot "The Spirit," that leaves a lot of "Sin City"
fans wondering what's up. Here's what Mr. Miller told the MTV Movies
Blog:
Quote:
"There was just some problems above us that I don't understand…that I
don't really want to understand," Miller said matter of factly about
studio delays in pre-production. All of which shouldn't bum out fans,
he insisted, since he expects not only to eventually film "Sin City
2," but "Sin City 3" as well.
It's been widely reported that the first sequel will be based on the
"A Dame to Kill For Story," but now we're hearing that Part 3 will be
based on a story called "Hell and Back" -- and apparently the
filmmakers want Johnny Depp for the lead.
So be patient!
E3 2007 Scales Back Event: "Don't criticise the experiment"
(mcvuk.com) Lucasarts president and ESA frontman Jim Ward
admitted at the opening of this year's E3 that the new-style event is
an experiment - and immediately called for patience.
Reiterating the reasons why E3 has switched to Santa Monica and
drastically cut its delegates down to just 3,000-4,000, Ward said that
there was a new focus on conducting business quietly, reaching the
media effectively and demonstrating the games industry's cultural
relevance.
But he and his fellow E3 committee members realise that the new event
may not please everyone who either attends or observes from afar.
"E3 is no longer about who has the biggest booth or the most
decibels," he told the audience at the event's opening ceremony in
front of the Fairmont Miramar hotel, Santa Monica.
"This is an experiment. You guys have to tell us if it works or not.
But rather than just sitting back and criticising, get on board and
experience the event to the full. Make the most of it and you will get
plenty out of it."
Jurassic Park Comes To Life in the Centre of Berlin
(earthtimes.org) Berlin - You'd be forgiven for thinking
you should make a run for it when the giant reptile suddenly appears
from around the corner. It's so realistic that it could be your leg
that the six-metre- long dinosaur ends up chewing with relish.
What sounds like a scene from the adventure film Jurassic Park can be
seen in a computer animation at the Museum of Natural History in
Berlin from Friday.
It is part of a new exhibition entitled Evolution in Action that the
museum presents in four display halls renovated over the past two
years at a cost of 18 million euros (24 million dollars).
At the heart of the display is the 13-metre-high and 15-metre-long
Brachiosaurus, the tallest dinosaur ever mounted in a museum.
Five skeletons from the museum's collection of 150-million-year- old
dinosaurs from Mount Tendaguru in Tanzania will be on display, along
with fossil plants and animals which lived in East Africa at the same
time.
Advances in computer-generated graphics make the long-dead animals
come alive again and take visitors on a trip to the beginnings of our
solar system.
The new exhibits combine original objects and new multimedia
technology in a presentation full of creative ideas, which make the
displays highly attractive for visitors of all ages.
At the same time, the exhibition is designed to help improve the
understanding of science by acting as an interface between scientific
research and the general public.
The dinosaur skeletons, discovered by German researchers in Tanzania
100 years ago, had to be dismantled and conserved while restoration
work in the 120-year-old museum was carried out.
Every piece, from toe to teeth, was covered in a protective layer and
reassembled in new steel corsets. A crane was needed to rebuild the
Brachiosaurus - a process which took several weeks.
Its head is one metre higher than it was before, after the latest
scientific research indicated the correct position. The colossus is
also more upright and appears to be running when seen through the
light of the hall's glass-domed roof.
Positioned close to the skeletons are binoculars or Jurascopes, as
museum director Reinhold Leinfelder calls them - a reference to the
Jurassic Period of geological time 208,146 million years ago.
Looking through the Jurascopes enables visitors to see the Tendaguru
world as if they had actually been there 150 million years ago.
Animated films show the dinosaurs - in the flesh as it were - smacking
their lips and letting out loud roars as they trample through the
prehistoric landscape.
It is all quite revolutionary for a museum that belongs to Berlin's
venerable Humboldt University and with 30 million artefacts is
considered a major research centre.
The Jurascope is an imaginative compromise. The Berlin experts don't
know what colours the dinosaurs were and what their roars sounded like
exactly.
But most of the animation is based on the latest research data that
gives it the feel of a scientific Jurassic Park, according to one of
the scientists involved in the project.
Another highlight is a specimen of Archaeopteryx - a prehistoric bird
that did not live at Tendaguru, but was around at the same time as the
dinosaurs from that location.
The original Archaeopteryx slab, referred to by exhibition organizer
Ferdinand Damaschun as "my Mona Lisa," will be on display.
At the end of their museum tour, visitors can relax on a couch in the
renovated stairwell and watch a 3-D film about the origin of our
planet.
"We have got a lot more to offer than dinosaurs," says director Leinfelder.
Darabont Still Hung Up on "Fahrenheit 451"
(rottentomatoes.com) Frank Darabont has been working on a
remake of "Fahrenheit 451" since before he wrote an unused draft of
"Indiana Jones IV." He's wanted to make a movie more faithful to the
Ray Bradbury book than the Francois Truffaut film. Unfortunately,
according to producer Neil Meron, Darabont's version won't be coming
soon.
"It's still a ways away," said Meron. "It's a difficult nut to crack.
It's another classic piece of material and all the elements have to be
right before you get into something like that. They're still lining up
and Frank is still working away and we're still dedicated to making
it."
Darabont is finishing his latest Stephen King movie, "The Mist."
Producer Craig Zadan isn't rushing him. "He's just done another movie
so we're waiting until he finishes his other film and we'll get back
into it again," said Zadan.
Knowing Darabont's focused, determined process, "Fahrenheit" could
still be his next no matter how long it takes. "It may be next for
him," said Meron. "You never know. The artistic process is a funny
process."
Vancouver: the new Soho of VFX ?
(playbackmag.com) The Canadian dollar is not going as far as
it used to, but that hasn't stopped L.A.-based compositing and visual
effects boutique Gray Matter FX from opening an office in Vancouver.
"The U.S. dollar is so weak against every currency right now. We used
to offer the currency break in costing but we don't anymore, it's too
scary. We don't know what it's going to do," says CEO and exec
producer Margaux Mackay, who cofounded Gray Matter 10 years ago with
Gray Marshall. The shop's credits include the features Dreamgirls,
Secret Window and Pirates of the Caribbean: The Curse of the Black
Pearl.
No doubt, B.C.'s tax credits and incentives were a draw. "The rebates,
certainly for studios, are attractive," she says. "If they didn't go
to Canada, they'd go to Australia or England. L.A. is losing work
because of it. I think Vancouver has the opportunity to be a big hub,
like England. England does good work, but the U.S. dollar is
[particularly] weak against the Euro."
A combo of provincial and federal tax credits means U.S. producers can
save up to 40% of their labor costs by contracting and producing the
visual effects in B.C. But Mackay says that wasn't the only reason the
shop opted to come to Vancouver.
"I'd been looking to set up there for quite awhile. I had a choice of
Montreal and Toronto, but I like Vancouver," she says. "It's a good
place for L.A. people to go. It's within the same time zone." And
equally important, she adds, "Vancouver is like London's Soho. It's
not back-biting - it's a community, and that attracted me. People work
together."
In fact, it was Winston Helgason, president of The Embassy Visual
Effects, a Vancouver-based 3D house, who called up Mackay to let her
know that space was available in his building. The two companies now
share a location minutes from downtown Vancouver.
"We both value each other's work," Mackay says. "They do a lot of 3D
and we do a lot of 2D. We did some work together on Dreamgirls, and
they're working on another project for us now." The two are currently
working on the superhero flick Iron Man, with Robert Downey Jr. as the
Marvel comics character.
Since opening in January, Gray Matter has completed Universal's
American Gangster, directed by Ridley Scott and starring Denzel
Washington, Russell Crowe and Cuba Gooding Jr., and the Pierce Brosnan
starrer Married Life for Sidney Kimmel Entertainment.
Current projects also include 21, starring Kevin Spacey in the true
story of a group of MIT students who take on Las Vegas and win.
While Vancouver might be the new Soho, Mackay notes that there's
plenty of competition on the horizon.
"China, especially, is competing for animation," she notes. "And the
next wave is companies hooking up with India. Budgets are getting
lower and lower, and I can't compete with China and India. But they
are getting what they pay for. On the other hand, over time, they
could build the talent and infrastructure, just like Vancouver did."
VFX Oscar Winner Takes $1M Salary For Hindi Assignment
(hindustantimes.com) Here's to another sci-fi movie. The
latest on the block is filmmaker Harry Baweja's Love Story 2050, which
stars Debutant Harman Baweja and Priyanka Chopra. Presented by Adlabs,
the theme is a futuristic love story that begins in contemporary
Australia and jets ahead into the year 2050 in the second half.
Baweja is leaving no stones unturned to ensure the best for his son
Harman's acting debut in the film. Baweja has signed up some
international special and visual effects, including Oscar-winner John
Cox. Cox, who bagged an Oscar in the Best Effects, Visual Effects
category for Babe, and his team is working on creating a futuristic
Mumbai of 2050.
"I believe it's the first time that an Oscar winner special effects
director is working for a Hindi film," says Baweja proudly. He
short-listed Cox after meeting several other experts from the United
States, United Kingdom and Australia.
"I wanted the best in the business. Besides, John and I hit off very
well right from the start," he adds. It's believed that Cox will be
paid $ 1 million.
Currently, Cox's team is in the city to execute the animatronics
sequences, the work for which started on Tuesday. "A lot of computer
graphics will be used to create Mumbai of 2050," says Baweja.
"Four teams will be working on the project. Since John's
specialization is animatronics, he'll be extensively working on that."
Interestingly, two robots will also feature as important characters in
the film.
As for the cost, Love Story 2050 is expected to cost Rs 35 crore, out
of which about Rs 15-20 crore will be spent for the special effects
alone.
What is animatronic? An animatronic is a mechanized puppet. It may be
preprogrammed or remotely controlled. The animatronic may perform a
limited range of movements or it may be incredibly versatile,
depending on the requirement.
ILM Rock Stars at Celebration Europe
(starwars.com) George Lucas' innovative and imaginative work
has attracted some of the very best talents in moviemaking, ever since
the director's first teams started creating new technologies to make
his vision a reality. From producers to art directors, visual effects
supervisors to swordmasters, the movies of the Star Wars Saga have
inspired new ideas and generated great stories.
Come and hear some of these amazing stories from movie craftsmen who
have worked at Industrial Light & Magic at key points throughout the
three decades of Star Wars, and have come to take part in the
celebration!
Don Bies
Don Bies, the Droid Unit Supervisor for Attack of the Clones and
Revenge of the Sith, has a long and close association with the Star
Wars galaxy. Bies started operating R2-D2 for Industrial Light & Magic
for a series of Japanese television commercials in 1987. Since then,
he has worked on countless films and commercials for the pioneering
visual effects studio, including Indiana Jones and the Last Crusade,
Congo, Starship Troopers, and the infamous "Darth Vader vs. the
Energizer Bunny" commercial.
Bies worked on the Star Wars Special Editions, and added a list of
on-screen appearances to his more typical off-screen contributions. He
appeared as a Bith musician and Boba Fett in Jabba's Palace, as well
as Imperial stormtroopers, officers, and aliens throughout the new
sequences. Bies, also a senior model maker, has worked on each of the
Star Wars prequels. See Bies at Celebration IV on the stage, and in
the R2-D2 Builders' Room, where he encourages and inspires the
worldwide group of droid builders.
Lorne Peterson
Lorne Peterson is one of the original members of Industrial Light &
Magic, having been hired by George Lucas to create the models for Star
Wars. In 1978, Peterson was invited by Lucas to move to northern
California to oversee the production of models for The Empire Strikes
Back. Since that time, he has worked on most of Lucas' movies, as well
as those of Steven Spielberg.
Aside from the work he has done for ILM, Peterson has done industrial
design modelmaking for McDonaldland, JBL Speakers, Kikkoman, Yamaha
Snowmobiles and the feature film The China Syndrome. Peterson was
honored with an Academy Award and a British Academy Award for the
special effects work in Indiana Jones and the Temple of Doom.
Source: http://www.starwars.com/community/event/celebration/news20070710b.html
(Variety) Alex Proyas will direct Dracula Year Zero,
Universal's origins tale about Vlad the Impaler, reports Variety.
The film, being produced by Michael De Luca, is one of several in the
works about the Romanian royal who inspired Bram Stoker's vampire
tale.
The trade says that Proyas (I, Robot) was attracted to the script by
Matt Sazama and Burk Sharpless, enthusing over their "fresh take on
the legend."
He said the project manages to play off the horror and the sympathy
you have for a character that "sells his soul to the Devil to save his
kingdom and family."
The writers, who set up the project a year ago, said the goal was to
show Vlad when he was still vital and to explore the fact that he's
considered a hero in Romania for fending off the Turks.
"Usually when you see him, he's past his prime and 100 years old," Sazama said.
"In our movie, he's at the height of his powers," Sharpless added.
Dueling Dracula projects set up around town include The Historian, a
contemporary book about the search for Vlad the Impaler's grave that
Brad Caleb Kane is adapting for Sony's Red Wagon, and Castlevania, an
adaptation of the popular video game for which Rogue recently signed
up director Sylvain White (Stomp the Yard).
Industry Wage Guide: VFX & Animation
(forums.cgsociety.org) Have you ever wondered what animators and
other artists are making at some of the larger studios, and even a lot
of the mid/smaller places? In fact, this method can be used for just
about every job available in any field. The employees themselves are
sometimes shy about revealing what they make and data from the union
is strictly voluntary polling. Want to hear real numbers? Keep
reading.
Before anyone asks, I'm not breaking any sort of rules by listing this
information. It is publicly available to everyone.
Here are some recent examples from Pixar (please note that some of the
numbers could be a year old).
STUDIO NAME / POSITION / YEARLY SALARY
PIXAR / ANIMATOR / 60,000
PIXAR / LAYOUT ARTIST / 90,000
PIXAR / TD / 69,700
PIXAR / ANIMATOR / 73,000
PIXAR / TD / 85,313
PIXAR / SOFTWARE ENGINEER / 110,000
PIXAR / ANIMATOR / 110,024
PIXAR / TD / 108,194
Not bad. Some of these guys are pulling in good salaries. Let's move
on to DreamWorks and see what they are making in Glendale.
DW / SOFTWARE DEV / 76,898
DW / VIS FX SUPE / 176,800
DW / ANIMATOR / 102,066
DW / ANIMATOR / 121,576
DW / LIGHTER / 101,581
DW / CHAR TD SUPE / 156,000
DW / MODELER / 114,400
DW / HEAD OF LAYOUT / 105,000
Of course I didn't list all of the salaries available. Just a
sampling. Let's move on to Sony and see how they are doing.
SONY / TD / 131,040
SONY / TD / 112,320
SONY / ANIM SUPE / 130,000
SONY / SENIOR TD / 112,320
I could go on and on and on. The point is, this information is
available to anyone and everyone. The trick is that the data only
represents what was made by those who were hired under an H-1B. I'm
sure some employers would not be happy about this being released to
the public, but that isn't our problem. Their beef is with the system,
not with some person simply letting you know that it is available.
Have some fun and check out what people are making at other studios. I
gave the following a try and found data for each: Digital Domain,
Blur, Walt Disney, Lucasfilm, Industrial Light & Magic, Rhythm & Hues,
The Orphanage, Wild Brain, Pacific Data Images, Blue Sky, Pixar, Sony,
and DreamWorks.
What a great resource for those looking to get an idea of their value
or those like me that are just busy-bodies!"
Source: http://forums.cgsociety.org/showthread.php?t=514580
Other studio info: http://www.flcdatacenter.com/CaseH1B.aspx
3-D Wizards Capture Harry Potter
(cosmiclog.msnbc.msn.com) What kind of magic spell does it
take to turn one of the biggest blockbusters of the summer, "Harry
Potter and the Order of the Phoenix," from a two-dimensional film into
a three-dimensional experience? It's not magic of the Hogwarts kind.
And it's not a simple incantation in computer code. "It's about 120
highly technical, specialized people who are the finest 3-D engineers
in the world," says Greg Foster, chairman and president of Imax Filmed
Entertainment.
Those engineers toiled over their computers for six weeks - first to
convert the movie's 20-minute finale into digital 2-D data, then to
add the third dimension to that virtual world. The magic trick puts
one more twist in the road leading to the films of the future. And
speaking of virtual worlds, Imax is branching out into the online
realm known as Second Life to promote its latest 3-D blockbuster.
Imax specializes in large-format movies that are designed to be shown
in custom-built theaters, on giant screens with immersive sound
systems. In some cases, 3-D movies are created that way from the
beginning, with a double-camera system filming every scene. But in
other cases, the 3-D effect is basically manufactured after
production. Imax uses a proprietary system called DMR ("Digital
Re-Mastering," as explained in this PDF file) to render a 2-D movie
digitally, then create a virtual 3-D space that can be captured on two
separate spools of 70mm film.
"It is a meticulous, manual process," Foster told me last week. "It is
not an automated process, just like making a movie is not automated.
There are certain parts within a scene that have to be handled
differently from another sequence."
At first, DMR was used merely to make the typical 2-D movie shot in
35mm look good on Imax's seven-story-high screens, but last summer the
DMR wizards took the plunge into 3-D with "Superman Returns." Frame by
frame, the computer wizards separated out and filled in the various
spaces and dimensions of the characters and objects - creating an
idealized 3-D space that is brought to life through polarized goggles.
"Superman Returns" did well enough that Imax and Warner Bros. Pictures
decided to give "Harry Potter" the 3-D treatment as well. This time,
instead of spreading out the 20 minutes of 3-D time among four
separate scenes, the good stuff comes where it naturally should:
during the film's climactic battle.
Foster said the 3-D show brought the house down last month during a
preview for exhibitors at Cinema Expo International in Amsterdam, with
the audience "grabbing and ducking and laughing in a great way."
He was reluctant to describe exactly what will wow audiences the most.
"Let's just say it involves a lot of mirrors and glass popping out at
you," he told me. "It's a really, really cool sequence. I would be
flabbergasted if someone saw it and didn't duck."
To promote the movie, Imax is entering a completely different realm of
3-D graphics: the virtual world of Second Life, which millions of
users experience through online personas known as "avatars." In Second
Life, you can cast yourself as a diva or a dragon, buy virtual
clothing, property and furnishings - and create your own fantasy world
if you're so inclined.
Imax's Second Life presence is relatively down to earth: You can
teleport yourself to Imax's virtual office and load up on giveaways
such as T-shirts, director's chairs and 3-D goggles (although when you
wear the goggles, an annoying black box advertising the "Harry Potter"
movie appears over your head - and it won't go away until you take off
the goggles). While you're visiting, you can watch a trailer for the
movie (but of course you can do that virtually anywhere online).
As you make your way through Second Life, you might run across Imax's
"street teams," ambassadorial avatars who are talking up the movie as
well as giving away free tickets to real-life showings (through the
magic of Hollywood Movie Money).
Foster said the promotion is aimed at cultivating a new crowd of Imax
moviegoers. "Basically, we were cool until kids were, like, 12 or 13
years old," he explained. "From 13 to 30, when you became a mom or dad
or an aunt or uncle, they stayed away from us. And as you know, that's
the prime moviegoing crowd."
So what's the next frontier for 3-D movie fans? Well, do you remember
"Polar Express," the 3-D animated feature directed by Robert Zemeckis?
Foster is already talking up the Imax 3-D version of Zemeckis'
upcoming movie, "Beowulf," which will be a live-action,
motion-capture, animation hybrid. That treatment lends itself to a
more thoroughgoing 3-D conversion.
Step by step, such wizardry is turning the moviegoing experience into
something you just can't get on DVD. "Our whole key is
incrementality," Foster said. "In everything we do, we're focused on
bringing extra customers to the movies."
Are the results worth all the trouble? What factors do you take into
account when you decide whether to see a movie in the theater or wait
for the video? Do you have a favorite 3-D movie moment, or do you
think the technology is still a headache-inducing gimmick? Feel free
to weigh in with your views on the future of movies, or your reviews
of the latest "Harry Potter" epic.
Kevin Spacey Set for Superman Sequel
(Variety) Kevin Spacey will return as Lex Luthor in Superman:
Man of Steel and appear in Telstar, Nick Moran's film version of Moran
and James Hicks' 2005 darkly comic West End play about flamboyant '60s
record mogul Joe Meek.
Variety says that "Superman" director Bryan Singer met with Spacey in
New York while the latter was appearing on Broadway in Eugene
O'Neill's recently wrapped "Moon for the Misbegotten." Singer was
about to pitch his "Man of Steel" sequel to Warner Bros.; Superman
Returns screenwriter Michael Dougherty is now writing the screenplay.
After Singer completes Valkyrie and The Mayor of Castro Street, he
plans to start production on "Man of Steel" next year for a 2009
release.
Spacey hopes to shoot his Luthor role in a six-week block, as he did
on Superman Returns, after he completes his run in David Mamet's Speed
the Plow in April.
Star Wars CG Modeling Tribute Heats Up
(forums.cgsociety.org) 30 years Star Wars exploded into world cinemas,
and it forever changed the film industry.
On May 25th 1977 Star Wars had it north American release, and
it would grow to be one of the most successful film franchises ever.
THE CHALLENGE:
Sculpt one or more representations of the Star Wars characters/
creatures in 1 month and two weeks (See the provided list). The idea
of this "mini-challenge" is to simulate an impossible deadline for a
project. The artists will have at their discretion how detailed the
models they will be working on, and the amount of models, and if the
models will be shaded/ rigged. But the model will have to be original
film interpretation.
Three contestants:
http://features-temp.cgsociety.org/gallerycrits/264653/264653_1183789472_large.jpg
http://download.cgsonic.com/hmc9/HMC9_Geonosis_and_Orray_beauty.jpg
http://forums.cgsociety.org/showthread.php?p=4506390#post4506390
Your New "Barbarella" is...Halle Berry?
(rottentomatoes.com) If you've been viewing the periodic news
burbles about producer Dino de Laurentiis' long-planned remake of
"Barbarella" with suspicion, you're in good company. Heck, at one
point, Drew Barrymore was supposedly being considered for the role,
and that's just silly. Oh, and speaking of silly? Entertainmentwise is
reporting that the new 'rella will be none other than -- wait for it
-- Halle Berry.
Not only was the 1968 original a cult classic that wasn't exactly
begging for a new coat of paint, but various parties have been
threatening to put a new "Barbarella" together for years.
From a certain point of view, this (as-yet unsubstantiated) report is
scoff-worthy -- Berry is an Oscar-winning actress, not the kind of
script-gobbling doofus that would willingly sign up for this kind of
project. Then again, the new "Barbarella" has a pretty good pedigree
-- it's being written by "Casino Royale" scribes Neal Purvis and
Robert Wade, and directed by Robert Rodriguez.
We also can't forget (try as we might) Berry's post-Oscar involvement
in noteworthy turkeys such as "Perfect Stranger," "Gothika," and, of
course, "Catwoman."
Disney to Present Prince Caspian and WALL*E at Comic-Con 2007
(news.awn.com) Walt Disney Pictures will offer exclusive
footage and panel discussions with the filmmakers of THE CHRONICLES OF
NARNIA: PRINCE CASPIAN and Disney-Pixar's WALL*E at Comic-Con. The
presentation will be conducted on Saturday, July 28, 2007at 2:15pm in
Hall H.
The PRINCE CASPIAN team will include director Andrew Adamson, producer
Mark Johnson, Weta Workshop's Richard Taylor, special make-up and
creatures supervisor Howard Berger, visual effects supervisor Dean
Wright and costume designer Isis Mussenden, as they answer questions
and share their experiences of filming PRINCE CASPIAN around the
globe. Also, be sure to collect the exclusive PRINCE CASPIAN Comic-Con
poster, designed by fans on Narnia.com and selected by Adamson.
The year is 2700. WALL*E, a robot, spends every day doing what he was
made for. But soon, he will discover what he was meant for. From
Academy Award-winning director Andrew Stanton (FINDING NEMO), WALL*E
is the story of one robot's comic adventures as he chases his dream
across the galaxy. Stanton and Academy Award-winning sound designer
Ben Burtt (STAR WARS, ET) will be on hand to screen footage and answer
questions.
John Knoll on CGI, Tron and 25 Years of Change
(computerworld.com) -- In 1982, Disney studios released Tron, one of
the first films from a major studio to feature extensive computer
graphics. The movie is about a programmer (played by Jeff Bridges) who
gets "digitized" and finds himself inside a computer where he is
forced to play the gladiatorial games he wrote. (Bridges' character
eventually escapes and sets out to topple the despotic Master Control
Program, or MCP.) Even though Tron was something of a milestone for
computer-generated imagery, it met with little success at the box
office and failed to garner a special effects nomination from the
Academy of Motion Picture Arts and Sciences. At the time, the academy
considered the use of computers in films as "cheating."
Monday marked the 25th anniversary of the release of Tron, whose
computer graphics were seen as revolutionary at the time. With that
anniversary in mind, Computerworld spoke with John Knoll, a visual
effects supervisor at Industrial Light & Magic (ILM). Knoll, who
served as visual effects supervisor for such films as Star Wars
Episode III: Revenge of the Sith, Pirates of the Caribbean, Star Trek:
First Contact and Mission: Impossible, weighed in on the limitations
of CG back then and how far it has come in the past quarter century.
(Knoll may also be known in the IT world for his role in the creation
of Photoshop, which he developed with his brother Thomas.)
Excerpts from that interview follow:
Tell me about your first encounter with Tron.
I saw Tron when it came out and thought it was really cool --
something unique and different that hadn't been seen in the cinema
before. I was really captivated by the imagery. I was working in
visual effects at the time as a model maker, and then as a cameraman,
and computer graphics was something I thought was really fascinating.
But Tron and The Last Starfighter were two things that definitely got
me thinking in those lines.
When did you become involved in computer graphics?
I was hired at ILM as a motion-control camera assistant, working as a
camera operator for a while before I moved over to the computer
graphics department. Part of it was just convenience: ILM was the
first place I'd ever worked at that had a computer graphics
department, so there was the opportunity to go over and visit.
More: http://www.computerworld.com/action/article.do?command=viewArticleBasic&articleId=9026719&pageNumber=2
"Sin City" Sequels Are Delayed, But Still Coming
(rottentomatoes.com) The good news is that Frank Miller and
Robert Rodriguez are still planning to do TWO "Sin City" sequels. The
bad news is that it just might take a little longer than expected.
With Rodriguez now busy with his "Barbarella" remake and Miller
getting ready to shoot "The Spirit," that leaves a lot of "Sin City"
fans wondering what's up. Here's what Mr. Miller told the MTV Movies
Blog:
Quote:
"There was just some problems above us that I don't understand…that I
don't really want to understand," Miller said matter of factly about
studio delays in pre-production. All of which shouldn't bum out fans,
he insisted, since he expects not only to eventually film "Sin City
2," but "Sin City 3" as well.
It's been widely reported that the first sequel will be based on the
"A Dame to Kill For Story," but now we're hearing that Part 3 will be
based on a story called "Hell and Back" -- and apparently the
filmmakers want Johnny Depp for the lead.
So be patient!
E3 2007 Scales Back Event: "Don't criticise the experiment"
(mcvuk.com) Lucasarts president and ESA frontman Jim Ward
admitted at the opening of this year's E3 that the new-style event is
an experiment - and immediately called for patience.
Reiterating the reasons why E3 has switched to Santa Monica and
drastically cut its delegates down to just 3,000-4,000, Ward said that
there was a new focus on conducting business quietly, reaching the
media effectively and demonstrating the games industry's cultural
relevance.
But he and his fellow E3 committee members realise that the new event
may not please everyone who either attends or observes from afar.
"E3 is no longer about who has the biggest booth or the most
decibels," he told the audience at the event's opening ceremony in
front of the Fairmont Miramar hotel, Santa Monica.
"This is an experiment. You guys have to tell us if it works or not.
But rather than just sitting back and criticising, get on board and
experience the event to the full. Make the most of it and you will get
plenty out of it."
Jurassic Park Comes To Life in the Centre of Berlin
(earthtimes.org) Berlin - You'd be forgiven for thinking
you should make a run for it when the giant reptile suddenly appears
from around the corner. It's so realistic that it could be your leg
that the six-metre- long dinosaur ends up chewing with relish.
What sounds like a scene from the adventure film Jurassic Park can be
seen in a computer animation at the Museum of Natural History in
Berlin from Friday.
It is part of a new exhibition entitled Evolution in Action that the
museum presents in four display halls renovated over the past two
years at a cost of 18 million euros (24 million dollars).
At the heart of the display is the 13-metre-high and 15-metre-long
Brachiosaurus, the tallest dinosaur ever mounted in a museum.
Five skeletons from the museum's collection of 150-million-year- old
dinosaurs from Mount Tendaguru in Tanzania will be on display, along
with fossil plants and animals which lived in East Africa at the same
time.
Advances in computer-generated graphics make the long-dead animals
come alive again and take visitors on a trip to the beginnings of our
solar system.
The new exhibits combine original objects and new multimedia
technology in a presentation full of creative ideas, which make the
displays highly attractive for visitors of all ages.
At the same time, the exhibition is designed to help improve the
understanding of science by acting as an interface between scientific
research and the general public.
The dinosaur skeletons, discovered by German researchers in Tanzania
100 years ago, had to be dismantled and conserved while restoration
work in the 120-year-old museum was carried out.
Every piece, from toe to teeth, was covered in a protective layer and
reassembled in new steel corsets. A crane was needed to rebuild the
Brachiosaurus - a process which took several weeks.
Its head is one metre higher than it was before, after the latest
scientific research indicated the correct position. The colossus is
also more upright and appears to be running when seen through the
light of the hall's glass-domed roof.
Positioned close to the skeletons are binoculars or Jurascopes, as
museum director Reinhold Leinfelder calls them - a reference to the
Jurassic Period of geological time 208,146 million years ago.
Looking through the Jurascopes enables visitors to see the Tendaguru
world as if they had actually been there 150 million years ago.
Animated films show the dinosaurs - in the flesh as it were - smacking
their lips and letting out loud roars as they trample through the
prehistoric landscape.
It is all quite revolutionary for a museum that belongs to Berlin's
venerable Humboldt University and with 30 million artefacts is
considered a major research centre.
The Jurascope is an imaginative compromise. The Berlin experts don't
know what colours the dinosaurs were and what their roars sounded like
exactly.
But most of the animation is based on the latest research data that
gives it the feel of a scientific Jurassic Park, according to one of
the scientists involved in the project.
Another highlight is a specimen of Archaeopteryx - a prehistoric bird
that did not live at Tendaguru, but was around at the same time as the
dinosaurs from that location.
The original Archaeopteryx slab, referred to by exhibition organizer
Ferdinand Damaschun as "my Mona Lisa," will be on display.
At the end of their museum tour, visitors can relax on a couch in the
renovated stairwell and watch a 3-D film about the origin of our
planet.
"We have got a lot more to offer than dinosaurs," says director Leinfelder.
Darabont Still Hung Up on "Fahrenheit 451"
(rottentomatoes.com) Frank Darabont has been working on a
remake of "Fahrenheit 451" since before he wrote an unused draft of
"Indiana Jones IV." He's wanted to make a movie more faithful to the
Ray Bradbury book than the Francois Truffaut film. Unfortunately,
according to producer Neil Meron, Darabont's version won't be coming
soon.
"It's still a ways away," said Meron. "It's a difficult nut to crack.
It's another classic piece of material and all the elements have to be
right before you get into something like that. They're still lining up
and Frank is still working away and we're still dedicated to making
it."
Darabont is finishing his latest Stephen King movie, "The Mist."
Producer Craig Zadan isn't rushing him. "He's just done another movie
so we're waiting until he finishes his other film and we'll get back
into it again," said Zadan.
Knowing Darabont's focused, determined process, "Fahrenheit" could
still be his next no matter how long it takes. "It may be next for
him," said Meron. "You never know. The artistic process is a funny
process."
Vancouver: the new Soho of VFX ?
(playbackmag.com) The Canadian dollar is not going as far as
it used to, but that hasn't stopped L.A.-based compositing and visual
effects boutique Gray Matter FX from opening an office in Vancouver.
"The U.S. dollar is so weak against every currency right now. We used
to offer the currency break in costing but we don't anymore, it's too
scary. We don't know what it's going to do," says CEO and exec
producer Margaux Mackay, who cofounded Gray Matter 10 years ago with
Gray Marshall. The shop's credits include the features Dreamgirls,
Secret Window and Pirates of the Caribbean: The Curse of the Black
Pearl.
No doubt, B.C.'s tax credits and incentives were a draw. "The rebates,
certainly for studios, are attractive," she says. "If they didn't go
to Canada, they'd go to Australia or England. L.A. is losing work
because of it. I think Vancouver has the opportunity to be a big hub,
like England. England does good work, but the U.S. dollar is
[particularly] weak against the Euro."
A combo of provincial and federal tax credits means U.S. producers can
save up to 40% of their labor costs by contracting and producing the
visual effects in B.C. But Mackay says that wasn't the only reason the
shop opted to come to Vancouver.
"I'd been looking to set up there for quite awhile. I had a choice of
Montreal and Toronto, but I like Vancouver," she says. "It's a good
place for L.A. people to go. It's within the same time zone." And
equally important, she adds, "Vancouver is like London's Soho. It's
not back-biting - it's a community, and that attracted me. People work
together."
In fact, it was Winston Helgason, president of The Embassy Visual
Effects, a Vancouver-based 3D house, who called up Mackay to let her
know that space was available in his building. The two companies now
share a location minutes from downtown Vancouver.
"We both value each other's work," Mackay says. "They do a lot of 3D
and we do a lot of 2D. We did some work together on Dreamgirls, and
they're working on another project for us now." The two are currently
working on the superhero flick Iron Man, with Robert Downey Jr. as the
Marvel comics character.
Since opening in January, Gray Matter has completed Universal's
American Gangster, directed by Ridley Scott and starring Denzel
Washington, Russell Crowe and Cuba Gooding Jr., and the Pierce Brosnan
starrer Married Life for Sidney Kimmel Entertainment.
Current projects also include 21, starring Kevin Spacey in the true
story of a group of MIT students who take on Las Vegas and win.
While Vancouver might be the new Soho, Mackay notes that there's
plenty of competition on the horizon.
"China, especially, is competing for animation," she notes. "And the
next wave is companies hooking up with India. Budgets are getting
lower and lower, and I can't compete with China and India. But they
are getting what they pay for. On the other hand, over time, they
could build the talent and infrastructure, just like Vancouver did."
VFX Oscar Winner Takes $1M Salary For Hindi Assignment
(hindustantimes.com) Here's to another sci-fi movie. The
latest on the block is filmmaker Harry Baweja's Love Story 2050, which
stars Debutant Harman Baweja and Priyanka Chopra. Presented by Adlabs,
the theme is a futuristic love story that begins in contemporary
Australia and jets ahead into the year 2050 in the second half.
Baweja is leaving no stones unturned to ensure the best for his son
Harman's acting debut in the film. Baweja has signed up some
international special and visual effects, including Oscar-winner John
Cox. Cox, who bagged an Oscar in the Best Effects, Visual Effects
category for Babe, and his team is working on creating a futuristic
Mumbai of 2050.
"I believe it's the first time that an Oscar winner special effects
director is working for a Hindi film," says Baweja proudly. He
short-listed Cox after meeting several other experts from the United
States, United Kingdom and Australia.
"I wanted the best in the business. Besides, John and I hit off very
well right from the start," he adds. It's believed that Cox will be
paid $ 1 million.
Currently, Cox's team is in the city to execute the animatronics
sequences, the work for which started on Tuesday. "A lot of computer
graphics will be used to create Mumbai of 2050," says Baweja.
"Four teams will be working on the project. Since John's
specialization is animatronics, he'll be extensively working on that."
Interestingly, two robots will also feature as important characters in
the film.
As for the cost, Love Story 2050 is expected to cost Rs 35 crore, out
of which about Rs 15-20 crore will be spent for the special effects
alone.
What is animatronic? An animatronic is a mechanized puppet. It may be
preprogrammed or remotely controlled. The animatronic may perform a
limited range of movements or it may be incredibly versatile,
depending on the requirement.
ILM Rock Stars at Celebration Europe
(starwars.com) George Lucas' innovative and imaginative work
has attracted some of the very best talents in moviemaking, ever since
the director's first teams started creating new technologies to make
his vision a reality. From producers to art directors, visual effects
supervisors to swordmasters, the movies of the Star Wars Saga have
inspired new ideas and generated great stories.
Come and hear some of these amazing stories from movie craftsmen who
have worked at Industrial Light & Magic at key points throughout the
three decades of Star Wars, and have come to take part in the
celebration!
Don Bies
Don Bies, the Droid Unit Supervisor for Attack of the Clones and
Revenge of the Sith, has a long and close association with the Star
Wars galaxy. Bies started operating R2-D2 for Industrial Light & Magic
for a series of Japanese television commercials in 1987. Since then,
he has worked on countless films and commercials for the pioneering
visual effects studio, including Indiana Jones and the Last Crusade,
Congo, Starship Troopers, and the infamous "Darth Vader vs. the
Energizer Bunny" commercial.
Bies worked on the Star Wars Special Editions, and added a list of
on-screen appearances to his more typical off-screen contributions. He
appeared as a Bith musician and Boba Fett in Jabba's Palace, as well
as Imperial stormtroopers, officers, and aliens throughout the new
sequences. Bies, also a senior model maker, has worked on each of the
Star Wars prequels. See Bies at Celebration IV on the stage, and in
the R2-D2 Builders' Room, where he encourages and inspires the
worldwide group of droid builders.
Lorne Peterson
Lorne Peterson is one of the original members of Industrial Light &
Magic, having been hired by George Lucas to create the models for Star
Wars. In 1978, Peterson was invited by Lucas to move to northern
California to oversee the production of models for The Empire Strikes
Back. Since that time, he has worked on most of Lucas' movies, as well
as those of Steven Spielberg.
Aside from the work he has done for ILM, Peterson has done industrial
design modelmaking for McDonaldland, JBL Speakers, Kikkoman, Yamaha
Snowmobiles and the feature film The China Syndrome. Peterson was
honored with an Academy Award and a British Academy Award for the
special effects work in Indiana Jones and the Temple of Doom.
Source: http://www.starwars.com/community/event/celebration/news20070710b.html
