Discovery Channel The Science of Interstellar

Matthew Mcconaughey voices over as the narration.

Wes Anderson // Centered

Music: The New Lobby Boy by Alexandre Desplat

David Fincher's film theory

// Condensing commentaries to only the most VITAL film information.//
// http://filmschoolthrucommentaries.wor... // - more on CINEMATIC LANGUAGE
// https://twitter.com/digifruitella // - If you wanna tell me what a good job I'm doing and boost my morale up so that maybe I increase the output of this fine filmmaking info, here's your chance. If you just wanna tell me to fuck off - feel free to do that too, but don't expect a nice response either ;P

Behind the Scenes on 'Gone Girl'

Hollywood blockbuster Gone Girl was edited entirely in Adobe Premiere Pro CC. The workflow used by David Fincher and his post-production team offers insights into the evolution of filmmaking today. Working interactively, with editorial and visual effects tightly linked, the team was able to shape the 6K source footage into a cinematic masterpiece. Hear how they did it. LEARN MORE about the Adobe Creative Cloud pro video tools: http://adobe.ly/1Bn4vX3

Understanding Art House | Under The Skin

You can discuss art house films, Under The Skin or anything else with me here: http://thenerdwriter.tumblr.com/ask
For short thoughts, my twitter is here: http://bit.ly/Sk3b5H

VIMEO SHORTS CITED:

Laurin Dopfner, "Verschleif"
https://vimeo.com/44339328

Tilt, "TILT JAPAN"
https://vimeo.com/96535666

Studio Swine, "Hair Highway"
https://vimeo.com/98210665

Mattis Dovier, "Plurabelle - Our Fires"
https://vimeo.com/99541639

1984 London, "Dream Life of Paper"
https://vimeo.com/99722811

STUFF:
Read my latest short story, "The Harbor", here: https://medium.com/@TheeNerdwriter/th...
To buy my first novel, Big City: https://gumroad.com/l/rqDD
To buy or listen to my first album, New Disguises: http://strumstick.bandcamp.com/
For business inquiries email: thenerdwriter@gmail.com

Keeping It Alien: Jonathan Glazer on Under The Skin

In this special, 20-minute long interview, director Jonathan Glazer talks to Film4 Channel Editor David Cox about making Under The Skin, the haunting mystery-thriller with a sci-fi edge. From finding the film's unique style to the use of music, Glazer gives us an exclusive insight into the process of crafting his remarkable, Film4-backed film.

Interstellar – Building A Black Hole

#Interstellar – Like the official Facebook page for updates
https://www.facebook.com/InterstellarUK

Follow us on Twitter at @InterstellarUK

Interstellar - In UK Cinemas Now

With our time on Earth coming to an end, a team of explorers undertakes the most important mission in human history: traveling beyond this galaxy to discover whether mankind has a future among the stars.

From acclaimed filmmaker Christopher Nolan (“The Dark Knight” films, “Inception”), “Interstellar” stars Oscar winner Matthew McConaughey (“Dallas Buyers Club”), Oscar winner Anne Hathaway (“Les Miserables”), Oscar nominee Jessica Chastain (“Zero Dark Thirty”), Bill Irwin (“Rachel Getting Married”), Oscar winner Ellen Burstyn (“Alice Doesn’t Live Here Anymore”), and Oscar winner Michael Caine (“The Cider House Rules”). The main cast also includes Wes Bentley, Casey Affleck, David Gyasi, Mackenzie Foy and Topher Grace.

Pixologic ZBrush Film & VFX Demo Reel 2013 ~ 2014 (Showreel) - CGriver.com

ZBrush 4R6 Available at cgriver.com/424-pixologic.

CGI VFX Breakdowns HD: "Now You See Me" - by Rodeo FX

Check out this revealing VFX breakdown for the entertaining 2013 film "Now You See Me", by the talented team at Rodeo FX!! Rodeo FX has delivered 350 complex VFX shots serving as the film's main VFX vendor. The film was released by Summit Entertainment on May 31st.

The Rodeo FX team created and produced a huge and diverse array of shots for the new film, comprising 23 total minutes of visual effects-driven screen time.


Official Website - http://www.rodeofx.com/all-films/now-...
Behance - http://www.behance.net/gallery/Now-Yo...
Official YouTube Channel - https://www.youtube.com/user/RodeoVFX
Twitter - https://twitter.com/FXRodeo
Now You See Me Movie - http://www.nowyouseememovie.com/

• About Rodeo FX •

We are a Montreal based Visual Effects Production Studio for high-end Film and Advertising. We service all aspects of Visual Effects. Our crew is a dedicated and passionate team of people who bring their best to every shot on every project we are privileged to be a part of. We have Global Experience at creating shots for Award winning, International Advertising Campaigns. Rodeo FX is proud of its reputation for consistently delivering unparalleled quality work, always creative and always with integrity.

The Great Gatsby VFX - 5 Parts

Part 1 - Introduction

Baz Luhrmann and Catherine Martin are happy for me to release five new reels of the VFX work completed for 'The Great Gatsby'. We are showing these reels first and foremost because we are extremely proud of the artists who contributed to this collective vision, and we wanted to represent their ‘hidden’ works and talents. Secondly, we're doing this as way of explaining some of our processes within VFX - which have exactly the same creative rigour and the collaborative decision making that goes into every shot within the film – live action or not. And that all comes from the script that Baz co-wrote, and is reflected in the visual language that Baz and CM created. This first clip is to illustrate one thing:- why so much of the film relied on VFX. All of the shots within this first clip are heavily or completely VFX. And that reliance on VFX comes from a meeting that I had with Baz and CM in New York early 2011 - when Baz realised that Fitzgerald's vision of New York from the 1920’s no longer existed in New York city or surrounds. By the way - the reels were cut by my producer Prue Fletcher and VFX editor Daniel Le. Please enjoy!!

Part 2 - Why VFX?

No matter what the budget or how big the sets that art director Ian Gracie built - and he did go big – the scale was never going to be large enough for the vision. The physical build cost just for Gatsby’s mansion was over five million dollars. The biggest set build, which included the mansion hallway, ballroom, stairs and organ, then out to the breakfast patio and down to the dance-floor was more than 50 metres by 30 metres by 12 metres high. But that was just one specific set with 200 metres of bluescreen and blackscreen permanently hung. Gatsby’s mansion was in fact a mix of many locations and sets. The front gates and driveway were at Sydney's Centennial Park, the building façade (first two floors) was a school at Manly, the entry to the dance-floor was in stage one (Fox Studios), the stairs, the pool were stage two, the wharf was on stages three and one at various times, the beach and water were at Cottage Point and Nick’s bungalow was built at Centennial Park, stage three and Mount Wilson (in the Blue Mountains). There were many practicalities and requirements on how Baz and the department heads decided what was live action, a VFX augmented or a fully 3d shot. Those being:- an overview of geography, being able to build a defined world, controlling lighting, availability of actors, flexibility and safety.To assist, we had rules that were implemented, such as, every wide had to have at least three storytelling points. For the Valley of the Ashes it would be:- the relationship of New York to the Valley of the Ashes, juxtaposition of wealth to poverty, and the use of colour to isolate Myrtle to name just a few. Then there was the downside to using VFX as well. It is harder for Baz and the actors to live in a blue world. But to their credit the results speak volumes. This second reel is a wide montage from many parts of the film to illustrate the decision making of what became just the VFX parts of the entire film.

Part 3 - 'Times Square'

The decision to use VFX as an adjunct to live action is never taken lightly. But how else do you 'show' the Times Square of the period? What we had available when we shot this sequence was 30 people, 10 cars, a length of pavement, a lit awning and a ton of greenscreen. Look frames had already been established with Baz and CM and Animal Logic constructed a 3d version of the same. The extra people in the background were a mix of additional bluescreen sprites and CG people. In an odd way 3d production processes are rather similar to traditional film making. The digital sets are designed and look frames are established, we build, texture, colour and light the 3d models and then we use them in production. As a result we used the same design and production methodology and also concept art and artists. Side note one: The reason we jump from bluescreens to greenscreens is simple. I always use bluescreen for stage and greens outdoor. But by the time we got to this scene I already had 1.7km of screens hanging and we simply ran out of bluescreens for this studio work. Side note two: For accuracy in making this film we engaged a lovely gentleman called Bob Singleton from the Greater Astoria Historical Society. He could tell us the building style, street furnishings, lamp posts, colour palette, bunting, awnings, etc, right the way from Long Island through to New York itself.

Part 4 - 'Cody's Yacht'

The very first time I met with Baz in 2000, just before we worked on Moulin Rouge, he explained that an important consideration for him when setting up a shot was the eyes and the face, (hair and makeup), then the body, (wardrobe), then the surrounds, (set dressing and construction) and then when we go wide – VFX. Not always in that order - but we try. Another rule is to use as little technology as possible on set that could interrupt the relationship between the director and the actor. (That and no cell phones on set). So for the fourth reel we have a minimalist set. Dan Cody’s yacht was referenced from a hero boat from the period that production had tracked down. (We digitally removed the radar from the live action plates). For the studio shoot Gracie built a large rolling deck. Like an old fashioned babies rocker with just a few stays and a guardrail. Lloyd Finnemore from SFX came up with the articulated arm that the dinghy floated on. This gave the dinghy a life of its own on the high sea. The opening wide shot was fully CG and the panelled room interior was bluescreen - only because we had not constructed the dressing room at that point because of changing schedules. The reference yacht was reproduced in 3d by ILM who completed the scene. Fabulous water work. A side note: In my opinion if you ever work on water it slows production down by a factor of 3.

Part 5 - 'The High Line'

The High Line had probably the greatest complexity of any of the sequences within the film. Simulated travel can look fake and the solution is complex as we need to introduced shadows, reflections in the glass, the duco and the chrome. Then there is the problem of intercutting to live action shot outside and also intercutting fully CG shots. For the action shots where we needed to see cars moving at speed we built a 200 metre solid green wall outdoors. Stunt supervisor Glenn Ruehland directed the unit and specialist stunt people drove and populated the street. The wall had to be versatile enough to dress all the way from Valley of the Ashes to the entrance of the bridge. For close work we shot the cars against bluesceen. Leo and Joel did truly drive outside elsewhere in the film but not for this scene. All cars were Lidar scanned and accurate 3d models made. This process was used because on every shot with Tobey and Leo sitting in the yellow Duesenberg against bluescreen, we would insert a brand new CG car around and behind them so that we could reflect the actual environment that they drove through. A lovely job completed by Animal Logic. As always I would like to thank our internal SWAT team, Animal Logic, Rising Sun and Iloura in Australia, ILM in San Francisco and also Prime Focus and Method Vancouver. Congratulations to all who did such fabulous work on almost 1500 shots. Many thanks to Baz, CM, Catherine Knapman, Chris DeFaria and Mark Brown - and of course Prue Fletcher and Joyce Cox. And thanks to Dan Le for putting the reels together.

Half Cut Tea . com | David Lewandowski

David Lewandowski is an animator/director currently working in Los Angeles, CA. 

David is a self taught artist who made a name for himself by doing commercials for companies like Pepsi Co. and visual effects for Tron: Legacy and Oblivion. Since then, he has been making work for himself. From his viral videos “going to the store” or “late for meeting” to directing music videos for Flying Lotus and Friendly Fire, he's making work the way he wants to. He has a special place set aside for his original Dreamcast and an uncanny ability to hunt down arcades where he can sink some quarters into a game of Marvel vs. Capcom.

halfcuttea.com

filmed by
Matt Glass and Jordan Wayne Long

interviewed by
Jordan Wayne Long

original music and editing by
Matt Glass

additional music
"Tiny Tortures" by Flying Lotus
Warp Records 2012
Purchase the song here:
itunes.apple.com/us/album/until-the-quiet-comes/id553280519

"The Little Ships" by Jean Jacques Perrey
Purchase the song here:
itunes.apple.com/us/album/amazing-electronic-pop-sound/id301060894

footage from TRON: Legacy
courtesy of Disney Enterprises Inc. All Rights Reserved.
Purchase the film here:
itunes.apple.com/us/movie/tron-legacy/id414711948

OBLIVION GFX Montage

The mighty Joseph Kosinski invited Munkowitz to the GFX party once again, this time for his spring blockbuster feature film OBLIVION™… Predictably, the list of graphic assets to be created was obscene, so munko assembled and led another super team of GFX mercenaries and descended into the lovely confines of Crater Lake Productions to generate the aforementioned fuckload of graphic content… Working with Joseph always brings out the best in Munk and Company, and this time around was certainly no exception… OBLIVION © Universal Pictures, Inc. All Rights Reserved.

A more thorough GFX Breakdown at: work.gmunk.com/OBLIVION-GFX

GFX METHODOLOGY

The briefing for the Graphic Language stressed functionality and minimalism while utilizing a bright, unified color palette that would appear equally well on both a dark or bright backdrop… The function was to reflect the modernized sensibilities of the TET Mainframe computer and would assist the characters with the key components of their duties on earth; be it the monitoring of all Vitals on the ground using Vika's Light Table, or the various diagnostics in the air using the Jack's Bubbleship… For good measure, the team also designed and animated all of the HUD UI for the various machines and weaponry in the film cuz they could, establishing a consistent graphic language that rendered all the interfaces with a loverly cohesion rarely seen in them massive-budget Sci-Fi productions...

OBLIVION LIGHT TABLE UI

One of the most widely seen Graphic elements was Vika's Light Table, which allowed her to guide Jack Harper through his tasks as a Drone repair man in the field of duty… The table itself was built practically, so most of the visuals were captured in-camera, lending a beautiful optical touch to the design ( thx Joe & Claudio )… The table consisted of four screens: A main map that Vika used to monitor the Bubbleship, Drone, and Scav positioning, a Drone Monitor which tracked all their key vitals and fuel status, A Hydro Rig monitor that displayed the collection progress for the large resource gatherers over the ocean, and finally a Weather Screen which showed the Tet's online status and also key vitals of the ever-changing weather systems… A couple extra tasks had the team designing another Map Diagnostic screen on a milky-white breakfast table top and a few key standalone windows that were analyzing Rogue Signal feeds that were key story points in the film...

OBLIVION BUBBLESHIP UI

Jack's helicopter, a remarkable Daniel Simon creation called the Bubbleship, was Jack's paramount vehicle in the film… The UI appeared as a hologram embedded within the spherical glass cockpit, done to perfection by the lovely folks at Pixomondo, and functioned to assist Jack in his flight and combat duties throughout the film… The team researched a grip of Flight simulator and Helicopter Combat interfaces and sought to modernize the aesthetic while still delivering key functionality that would mimic real-world flight tools... And of course the team didn't want to fuck up Simon's baby with ugly UI, the German wrath was implanted deep within and ultimately, the Bubbleship UI was by far the most researched and pampered graphic task...

OBLIVION HUD GFX

The team also designed all of the Machinery HUDs and various Gauges in the film, be it the Drone Machine Vision, Jack's Gun HUD, all the Scav equipment and some of Jack's smaller vehicles... The interfaces again stressed functionality over excess, keeping the Greeble under control and communicating key story points throughout the film.. All of these graphic elements were ingested by the VFX Vendors and ultimately integrated seamlessly into the live-action plates; many thanks mighty peoples...

OBLVN Light Table UI Credit list

Production Facility: Crater Lake Productions
Oblivion Director: Joseph Kosinski
Oblivion Producer: Steve Gaubs
Oblivion Assistant Producer: David Feinblserbr

Graphics Design Director: Bradley G Munkowitz
Lead Graphic Designers: Bradley G Munkowitz, Jake Sargeant
Graphic Designers: Joseph Chanimal, Alexander Perry
Lead Graphics Animators: David Lewandowski, Joseph Chanimal
Graphics Animator: Alexander Perry

OBLVN Bubbleship UI Credit list

Graphics Design Director: Bradley G Munkowitz
Lead Graphic Designers: Bradley G Munkowitz, Joseph Chanimal
Lead Graphics Animator: Navarro Parker
Graphics Animator: Joseph Chanimal

OBLVN HUD GFX Credit list

Graphics Design Director: Bradley G Munkowitz
Lead Graphic Designers: Joseph Chanimal, Bradley G Munkowitz
Graphic Designer: Alexander Perry
Lead Graphics Animators: Navarro Parker, Alexander Perry
Graphics Animator: Joseph Chanimal

OBLVN Process Montage Credit list

Production Facility: Autofuss
Design Director: Bradley G Munkowitz
Lead Editor: Ian Colon
Director of Photography: Ian Colon

Speedrun: Matrix in 60 seconds

Put machines, dreams, Neo, dystopia, and more machines into a blender and chug it really fast - that's the taste of this condensed version of the 1999 hit movie.

Please, do not subscribe to our channel: http://www.youtube.com/user/1a4studio
Please, do not like our facebook: http://www.facebook.com/1a4Studio

Inside Adam Savage's Cave: Spirited Away No-Face Cosplay

Adam Savage dons his favorite piece of cosplay: a full costume of No-Face from Spirited Away that he made for last year's Comic-Con. As Adam transforms into this animated character, he explains why performance is just as important to cosplay as aesthetics.

The Making of Predator (1987)

The Making of Predator (1987)

TOTAL RECALL HUD + GUI REEL / ASH THORP

In mid January of 2012 I was introduced to the very talented Patrick Tatopoulous who brought me on board as a freelance designer to build and develop graphics and user interface technology for the world of Total Recall. It was an amazing opportunity that I knew I couldn't pass up seeing as the original was a childhood favorite of mine. I soon discovered just how vast the world Len Wiseman and his team had built and knew right away I had lots of work ahead of myself. My total contribution on the project lasted about 5 months, it was an intense amount of work to be done about 200 shots in total made it to the final print of the film.

The reel above is a portion of the graphical elements I created for the film. All the approved designs where then taken to the animation stage by my very talented friend Ryan Cashman whom I worked very closely on during the remainder of our stay on the 5 month project. Our work was then sent to post production houses where the designs where composed into the final print of the film. A HUGE thank you to the enormously talented team on this project and for having us on board with you guys it was a great journey! CHEERS!
Please see the full credit list for details:
AT+RC=
Ash Thorp - Designer / ashthorp.com
Ryan Cashman - Animator / nanoanimal.com
TR Edit by:
Franck Deron / franckderon.com
Edit title animation by:
Alasdair Willson / alasdairwillson.com/
Edit music:
aphex twin - windowlicker
Full movie credit list / imdb.com/title/tt1386703/fullcredits#cast
Columbia pictures: Total Recall © Columbia Pictures. All Rights Reserved.

The Possession - Artifex Studios Visual Effects Reel

A visual effects reel of our work on the film The Possession, including some key shots and before-and-after material.

Designing Bond's Look

 
Here we present a short study into James Bond’s personal style, meeting award winning costume designer, Lindy Hemming; and a handful of bespoke tailors who have been instrumental in shaping and crafting this icon of style over 50 years.
The Barbican marks the 50th anniversary of James Bond with a unique exhibition showcasing the inside story of the design and style of the world’s most influential and iconic movie brand: barbican.org.uk/bond/

God's Eye View

  This is a montage of straight-down shots used in various films.

This type of shot is commonly referred to as a "God's Eye View" angle. The camera lens is perpendicular to the subject without any POV reference, which gives the viewer an omniscient viewpoint of the character and the surrounding space.

The video is cut to the Yeah Yeah Yeah's "Down Boy" from the "Is Is" album.

Jaws Film Restoration --Own Jaws on Blu-ray August 14, 2012

 Academy Award Winner Steven Spielberg's iconic summer classic comes to Blu-ray for the first time ever on August 14th, digitally remastered and fully restored in honor of Universal's 100th Anniversary Celebration .

Take a look at the extensive process that went into restoring this unforgettable film.

Jaws will be available on Blu-ray Combo Pack with DVD, Digital Copy, UltraViolet and over 4 hours of bonus features including an all-new documentary "The Shark is Still Working."