Film at the Vatican Without Leaving LA: How Stargate Studios’ Virtual Backlot Is Revolutionizing The Industry
On location shooting is a variable that can make or break a film or television project. It might be the difference between shooting a scene at Westminster Abbey, or at the neighborhood church. So when visual effects house Stargate Studios launched their Virtual Backlot nearly a decade ago, television shows everywhere could hardly wait to use their game-changing library of virtual backdrops. From Vegas casinos to idyllic beaches, producers could finally green-light exotically ambitious scripts,
Making Waves: Meet Scott Anderson, Visual Effects Supervisor and The Man Behind The Mavericks in Chasing Mavericks
Scott Anderson has provided expertise on films such as Steven Spielberg’s The Adventures of Tintin, and through his company Digital Sandbox, a visual effects company, has worked on a bevy of films. Anderson and his team were brought on board (pun intended) to help directors Curtis Hanson and Michael Apted make the surf scenes in Chasing Mavericks look so realistic that even the legendary surfers who were stunt doubles and stunt performers on the film would be pleased.
The Surfer King: A Conversation With Chasing Mavericks Surf Coordinator and Big Wave Expert Grant Washburn
Making a great biopic can be a high stakes game: How do you do tell an enthralling story about a real person, while keeping the audience entertained and also maintaining authenticity when it comes to the subject in question? For Grant Washburn, the Surf Coordinator on Chasing Mavericks, the story of iconic big wave surfer Jay Moriarty, the stakes were even higher because there was another determining factor —
The Wired Theater: Audiences Get Social At The Cinema
There is a well-known myth of movie audiences in the late 19th century fleeing for the exits at the sight of a train that seemed to be barreling straight toward them. In reality, audiences’ early fascination with motion pictures quickly turned to admiration, a sacred respect for the movie going experience. Talking during movies became, almost instantaneously, strictly verboten. Decades later, other rules reared their heads to stomp out social distractions in the cinema. First it was,
The Return of Smell-O-Vision, the Advent of 4D Cinema, and the Brave New World of Sensory Film
TIME Magazine might have deemed it one of the worst 100 ideas in history, but it’s hard not to harbor a fond nostalgia for the wonderfully bizarre promise Smell-O-Vision once afforded moviegoers. Making movies that smelled was a bold and definitively quirky concept intended to persuade the television-hooked masses of 1950s Americana to migrate from their plastic-covered couches and microwaved TV dinners in order to experience movies in a ‘scent’sational new way. Of course,
Special Effects for Everyone: The Democratization of CGI Technology
You could say independent filmmaker Gareth Edwards is a surprising champion for CGI technology. After all, his feature film Monsters (2010) wasn’t a big-budget summer blockbuster, nor did it star Tom Cruise, Matt Damon or any other major A-list actor. In fact, he made his film for a mere $800,000—and that’s with CGI technology included. In an interview with film critic Mark Kermode, Edwards said, “You can go in [a] shop now and buy a computer that’s faster than the computers they made Jurassic Park on.”
