"Dinosaurs vs. Aliens" Moves Forward With Sonnenfeld

(Daily Record)                   Writer Grant Morrison talked to the Daily Record about his and director Barry Sonnenfeld's plans to bring Dominion: Dinosaurs vs. Aliens to the big screen.

"I've just finished the second draft of the Dinosaurs vs Aliens movie. It's what it kind of says on the tin," he told the newspaper.

The story, which has aliens invading the Earth in prehistoric times, will feature dinosaurs as the protagonists.

He also revealed that he plans to adapt Rogue Trooper for Sam Worthington's company, Full Clip Productions. It is based on the sci-fi strip in the British comic "2000 AD," created by Gerry Finley-Day and Dave Gibbons.

Rogue is a blue-skinned, genetically engineered elite soldier who searches for the Traitor General with his three comrades. His comrades are in the form of biochips on his rifle, backpack and helmet.




Studio Wants Chris Nolan Or Michael Bay For Twilight Zone Movie

(movie-moron.com)              It’s shaping up to be a veritable clash of the directorial titans. A cerebral slickster, worshipped by fans and critics alike, facing off against a bad-tempered blowhard who is oft-derided but an undeniable box office powerhouse. It’s Nolan vs. Bay. …At least on an exec’s want list.

Warner Bros. is developing a new feature based on The Twilight Zone, the Rod Serling-created sci-fi show which originally ran from 1959 to 1964, and is pursuing its golden boy, Nolan, to helm the flick. However, if the Inception and Dark Knight mastermind turn it down, then the studio is ready to offer it to Bay, Alfonso Cuarón (The Prisoner of Azkaban), or Brit Rupert Wyatt (Rise of the Planet of the Apes).

The Twilight Zone reboot has been scripted by Jason Rothenberg (one of those screenwriters who seem to be very much flavour of the hour in Hollywood, despite a paucity of produced credits to-date) and, unlike the prior film from 1983, the approach is to fashion one single storyline, with one director, rather than taking the anthology approach.

That earlier Twilight Zone is somewhat notorious now, with its small triumphs (such as the Nightmare at 20,000 Feet segment, directed by George Miller and starring John Lithgow as an airline passenger tormented by a gremlin on the wing of the plane) being decisively outweighed by the disaster of Vic Morrow and two child actors being decapitated by a helicopter during John Landis’ shoot. Manslaughter charges were subsequently levelled against the American in Werewolf man and several other production personnel, with the ensuing lawsuits taking years to be resolved.

Reports suggest that Nolan might be turned off by the screenplay’s similarity to Inception (DiCaprio is a producer on The Twilight Zone too, oddly enough) although the completion of Nolan’s obligations to Warners’ Batman series next year will leave him looking for something to fill the void – the same essential situation Bay is in now, with the Transformers franchise.

Cuarón, in contrast, is largely booked up till late 2012, with his oft-delayed space drama Gravity (another Warners project) not due to be released till just over 13 months from now.




Take-Aways From Saturday’s VES Production Summit

(billdesowitz.com)

* The industry needs better educated stereographers: They should know camera as well as post/VFX. However, there’s a DP turf war going on between the cinematographer and the stereographer, so the cinematographer needs to embrace bringing the stereographer in on the trio with the director, and the stereographer better learn cinematography.

* The latest tax incentive wrinkle has high-end VFX artists being lured away to other countries as a result of better lifestyle opps. So it’s no longer just roto and comp work.

* Former MPAA president Bob Pisano suggested that sequencing and pricing have to be rethought since time-based windows obviously don’t work in the era of social media.

* X-Men: First Class had a hectic four-week post schedule for VFX and the whole production was turned around in less than a year, but, because they pulled it off, there’s a concern that this will become the norm and not the exception.

* Rise of the Planet of the Apes was hailed as “Apeatar” in the way that it leveraged the Avatar performance capture system and was done quickly and efficiently. But the original version had James Franco dying but it didn’t test well, but you can be sure the alternate version will be touted on the upcoming Blu-ray.

* A lack of clarity and preparedness before you go into production is consequential — that is the systematic problem at the heart of so much abuse of VFX artists that the VES is currently trying to address in its Bill of Rights.




Here’s To The Greatest Visual Effect Company Of All Time

(make-money-online-cash.gditutorial.com)                  On the subject of puzzling over which motion pictures studios are truly also visual effect studios, needless to say the truly great people over at FOX come to mind.

Finding an excellent company who does visual effects can be tough. But I think I have really narrowed it down quite a bit. This article explains who I think it is.

What do I mean then I say a “vfx movie?” I meant that these films use the finest technologies offered to them by their visual effect company to create a story that is worth watching again and again.

What do you think my favorite visual effects from the Star Wars movies might be? I know that some Star Wars purists might hate me for this, but my absolute favorite effect comes from the newer trilogy, in the scene where the young Anikan it pod-racing, and we as the viewers are treated to see the world and the desert as he sees it, racing over the sands and between the cliffs.

I understand some Star Wars purists might despise me for submitting this, but my absolute favorite effect appears in the newer trilogy, within the scene in which the young Anikan it pod-racing, in which we as the witnesses are treated to discover the world and also the desert as he sees it, racing on the sands and between these heights.

Such a thrilling sight…honestly it couldn’t have been attained without vigilant 3D modeling and flythrough technologies. Another great movie within the FOX catalogue, and perhaps the newest example of revolutionary 3D animation, could well be Avatar, which I might discuss later in a totally separate entry at my blog.

Myself, I feel grateful for all of many creations that FOX has contributed the film world over the decades, as an incredible visual effect company really prepared to step up their game and build high-quality vfx elements in as an important aspect of their smash hit storytelling.

How about you? Do you also recognize FOX offerings like Star Wars or Avatar? Or is your favored visual effects-based film some other film company that I might be not recognizing here? Do not hesitate to tell me in the comments section below!

Source;            http://make-money-online-cash.gditutorial.com/internet-and-business-online/heres-too-the-greatest-visual-effect-company-of-all-time/





Singapore's DCH Announces $100m Animation Fund

(animationmagazine.net)                     Singapore-based investment company DCH Capital has revealed a new $100 million fund to invest in IP creation in the animation, games and computer graphics sectors. The announcement of the DCH Media Fund was made in Cannes, where it was made known that Fund’s intention will be to invest in media companies, coproduction projects and media hub infrastructure.

    “DCH Capital’s Media Fund was launched to support the creation and development or co-development of intellectual properties under the animation, games and computer graphics sectors of the creative cluster including new and emerging media,” explained DCH’s director of investments, Karuna Muthu.

Based in Singapore, the Fund will be focused on providing financial support to production companies and/or their projects or the lease of production equipment for film and television projects. DCH is already evaluation coproduction opportunities in projects “that merit production in New Zealand and Singapore.”




Transformers Franchise To Take Two Year Rest?

(comicbookmovie.com)               The voice of Optimus Prime in Michael Bay's Transformers trilogy says that he'd love to do a fourth film, but also says that everyone involved with the previous films needs 'a two-year rest'...
Speaking to Movie Web while promoting the DVD/Blu-Ray release of Transformers: Dark Of The Moon, Peter Cullen - who's voiced Autobot leader Optimus Prime in various pieces of Transformers media, including the Michael Bay films - is asked about the future of the film franchise. He says that while everyone needs at least two years to rest (as suggested by Tyrese Gibson), he would love to eventually do a fourth Transformers film. To check out much, much more from Mr. Cullen, click the link below.

There is a lot of talk about where the future of this franchise will go. I talked to Tyrese Gibson a few weeks ago, and he believes that everyone will come back, but it might take a couple of years, to get some other projects done. I don't think anyone will be able to let this franchise go. Is that how you're approaching the future of this franchise?

    It's so great to hear Tyrese say that. It was such a pleasure being with him, he's such a great guy. I think they need a two-year rest. These guys work very hard. They can all use a rest, but I would hope that Tyrese's words come true, and I hope for the same thing. It's a unique opportunity to work with a successful trilogy like this, and lets hope it goes to four. I would love it.




Sony Pictures Imageworks to Work With Autodesk Consulting

(socialgoodconsulting.com)                     Sony Pictures Imageworks with full Autodesk Consulting software engineer will be time on the site will help Sony to handle very sophisticated pipelines for visual effects and animation for feature films by extending the possibility of Autodesk Maya software.www.autodesk.com

Video - Take a look:        http://www.socialgoodconsulting.com/sony-pictures-imageworks-to-work-with-autodesk-consulting/




'Puss in Boots' Opening a Week Earlier

(hollywoodreporter.com)                   DreamWorks Animation and Paramount want to give the animated pic more room before a flood of family films open over Thanksgiving.

DreamWorks Animation and Paramount have moved up the release of animated family film Puss in Boots by one week, from Nov. 4 to Oct. 28.

The relocation to Halloween weekend gives Puss in Boots more breathing room before a crush of family pics debut around the Thanksgiving holiday.

Directed by Chris Miller, the Shrek spin-off is an origins pic about the popular feline voiced by Antonio Banderas. In March, the movie was one of the biggest hits of theater owners trade show CinemaCon, where footage was shown for the first time.

Puss in Boots doesn't have to worry about serious competition in its new date (just as it didn't in its old). The other films opening on Oct. 28 are Sony's Anonymous, Fox's In Time, FilmDistrict's The Rum Diaries and Universal's Johnny English Reborn.




VFX Animation for Movies and Games Panel

(gnomonschool.com)                Join us with Digital LA Thursday October 6th for a special visual effects animation panel where visual effects supervisors, animators and mocap actors will discuss current trends in animation and techniques for this past summer’s movie and game blockbusters. We’ll also discuss how game and movie visual effects compare, differ and can learn from each other.

When: Thursday, October 6th

7:00 P.M. - 8:00 P.M.: Check-in and Networking
    - GameTruck: Play games in this 50-foot truck with four game consoles
    - Gamer Food: Caffeinated peanuts and cashews
8:00 P.M. - 9:30 P.M.: Panel with Q&A
9:30 P.M. - 10:00 P.M.: Even more networking

Place: Gnomon School of Visual Effects
1015 N. Cahuenga Blvd. Hollywood, CA 90038
View Map

Panel Speakers

Erik Gamache
Digital Domain, Animation Supervisor

Erik recently worked on Real Steel (starring Hugh Jackman, from director Shawn Levy). Erik has been creating digital characters for more than a decade, most recently supervising animation on The A-Team, Percy Jackson & The Olympians: The Lighting Thief and Transformers: Revenge of the Fallen. He also contributed his talents to Star Trek, The Mummy: Tomb of the Dragon Emperor, I, Robot and other movies. Erik’s career began on the animated television show Roughnecks: The Starship Troopers Chronicles.

Chris Kirshbaum
DreamWorks Animation. Animator

Chris’s credits include Kung Fu Panda 2, Kung Fu Panda, Flushed Away, Over the Hedge and Shark Tale.

Raymond McIntyre Jr.
Pixel Magic, Vice President

Raymond is an award-winning VFX Supervisor/Stereoscopic Supervisor on more than 100 titles including Harry Potter and the Deathly Hallows: Part 2, The Twilight Saga: Breaking Dawn: Part 1, Ghost Rider: Spirit of Vengeance, The Help, 300, Spider-Man, X-Men 2, Rush Hour 3, Hot Tub Time Machine and Marley & Me.

Kevin Haug

Kevin’s credits include VFX Designer/Supervisor on Machine Gun Preacher, Finding Neverland, Stay, Quantum of Solace and Fight Club.

Nick Whitmire
Blur Studio, Animator

Nick worked on the cinematics and visual effects animation for games including Prey 2, Overstrike, and Firefall.

Bruno Velazquez
Sony Computer Entertainment America, Lead Game Animator

Brun’s credits include Lead Game Animator on God of War. He was previously at Midway Games where he worked on Mortal Kombat: Shaolin Monks.

Richard Dorton
“Mocapman”

Richard has been a mocap actor for more than 80 video games including Darth Vader in Star Wars: Force Unleashed II, SOCOM: Confrontation, Conan, Left 4 Dead 1 and 2, Uncharted 1 and 2, Sony VITA, Ghostbusters and Silent Hill V. He has also been a mocap actor for movies in Tron, Spider-Man, Anger Management and did mocap testing for Iron Man and Avatar.

Kevin Winston
Moderator




CG Animated "The Hotel Transylvania" First Guest Arrives

(dreadcentral.com)               Word around the industry is that Javier Bardem is now in talks to join the cast of Genndy Tartakovsky's animated spookfest Hotel Transylvania, which is being produced by Michelle Murdocca (Open Season). Tartakovsky is best known for his work on Samurai Jack, Star Wars: Clone Wars and Dexter's Laboratory. Sony Pictures Imageworks (The Smurfs) will handle animation.

Screen Gems hopes to check you in on September 21st, 2012.

"In the story, a sort of "Romeo and Juliet" with monsters, Simon Van Helsing -- the youngest in a long line of monster hunters -- falls in love with Dracula's daughter. Upon the discovery that they are enemies, the couple attempt to bring peace between the monsters and humans."




Rhythm and Crowds: Moneyball

(fxguide.com)              Crowd replication is a staple of the invisible effects category, for almost obvious reasons that the shots are designed to be in the background but still give life to scenes in the film. More than 120 crowd shots feature in Moneyball, which tells the story of baseball club the Oakland A’s, and how its general manager Bill Beane (played by Brad Pitt) turned the team around. Rhythm & Hues devised a procedural technique with real extras and a Houdini pipeline to fill out the Oakland A’s stadium.


Rhythm’s traditional crowd generation and replication approach would have been to shoot multiple 360 degree tiles of the stadium with extras sitting in different parts, and then patch them together. A different technique, however, was adopted for Moneyball. “Given the amount of time we had to shoot them,” says Rhythm visual effects supervisor Edwin Rivera, “and the fact that the stadium itself was a big bowl – which meant that every seat was at a different angle – I went for something different.”

For wide views of the stadium’s crowds – the main shots – 50 different people at four different angles (90, 66, 45 and 22 degrees) were filmed. Using Rhythm’s compositing environment, each person was isolated from each of the angles on a 1K card and could then be placed procedurally using Houdini into the stadium based upon the angle of the seat and the angle of the tracked camera.

Full article with images:    http://www.fxguide.com/featured/rhythm-and-crowds-moneyball/




Beyond Movies: James Cameron is Exploring New Frontiers

(popularmechanics.com)                Known for blockbuster films such as Avatar and Titanic, James Cameron has changed the way movies are made. But he's also an innovator beyond the movie set, exploring the ocean depths and designing 3D cameras for NASA. Cameron, the winner of PM's Breakthrough Leadership Award in 2011, tells us about juggling his many pursuits.

Full Article:    http://www.popularmechanics.com/technology/engineering/news/beyond-movies-james-cameron-is-exploring-new-frontiers