"Filmed on location within Tavares Bastos favela, Santa Teresa and The Maracanã in Rio de Janeiro, Brazil. The BBC World Cup 2014 titles visual effects were created by GeeFX Studios. The entire piece was done at 6k resolution, filmed with a Red Epic Dragon. Although only broadcast by the BBC in HD, you can view a 4K version on the RED youtube channel above. In conjunction with The Sex Pixels, Unlimited VFX Limited brought to life the statue of Brazil’s 1958 world cup winning captain, Hilderaldo Luiz Bellini, The Macarana stadium entrance and Brazillian sky were also augmented for dramatic effect.
During my five days at SIGGRAPH, one of the escapees i happened to bump into was Iveth Bueno, from my Compositing for Visual Effects class in 2013, she kindly wrote a blog for us about her experience as a SIGGRAPH 2014 volunteer!
This time of year tends to be a busy time for VFX, particularly for Compositing departments, with film production schedules nearing the end of their pipeline, and VFX teams working towards looming delivery deadlines. During this busy time, it’s great to see our graduates benefitting from the industry’s demand for more experienced Compositors. This is certainly the case for Jacopo Landi who graduated from our Advanced Compositing for VFX course last March and is now working at Double Negative as a Digital Stereo Compositor.
We are very pleased to announce that we have joined forces with HaZ Films as VFX Partner on his latest Sci-Fi Short film: SYNC. HaZ is a VFX Supervisor turned Filmmaker while also one of our tutors on the Producing for VFX course, (which is soon to start its third term)
Last week was super busy for everyone here at Escape Studios, as we crammed in a heck of a lot of VFX related activities, we visited and hosted some of the most skilled artists in the business and simply had to blog about it!
If you haven’t already seen, every Sunday over the last few months, we’ve been uploading the showreel of a different escapee, aptly naming the day on our Social Media channels as #ShowreelSunday.
I have intentionally waited until the afternoon to post this blog, so that all of you UK based sports fans that actually stayed awake to watch the coverage of the Superbowl last night, are now wide awake! So if you’ve finished your belated breakfast and have washed the beer stains out of your team jersey, then please cast your mind back to approximately 16 hours ago.
2D whiz Simon Richardson gave us a window of time recently to get our hands in his brain, and find out exactly what it takes to be a compositor. This unsung art form is one of the most important in VFX and more often than not, a viewer will have been fooled by the artistry of a compositor before any acting in a scene has even happened.
With VFX heavy films receiving a huge amount of positive reception in the 86th Academy Awards nomination lists, we’re seeing more people than ever with a keen eye on the 12th Annual Visual Effects Society (VES) Awards nominees. The leading titles recently announced are 'Gravity', 'Frozen', 'The Croods' and 'Game of Thrones', and the question on which of these is going to scoop up the most awards is creating quite a buzz around here.
Every VFX artist wants to get to grips with state of the art software, it’s essential in an industry that is constantly evolving to keep nipping at the heels of the proverbial beast.
I loved the first Machete film, and when at the end of the film, the narrator announced “Machete will return in, ‘Machete Kills’ and ‘Machete Kills Again’”, my excitement was uncontainable. So naturally, I ran to the cinema to see ‘Machete Kills’ at the weekend, and I can say conclusively that I’ve never left a cinema with such an overwhelming feeling of confusion.
Here is a killer piece of 'advertising meets special effects' that caught our eye this week.
Honestly, I was so busy driving over mountains on a motorbike to chase planes crashing into deserts in GTA V that I was barely even paying attention to Valve's triple announcements last week. They're making a new PC or something? I didn't care, there were heists to be having! Then this week, as I tried to play online, I received the same message as the other 10 million trying to get on...
Last Friday we took a train south to Bournemouth for the 2013 BFX awards ceremony, which was a truly wonderful event. Awarding and celebrating emerging talent from eleven UK universities, the teams who took part in this competition impressed us mightily.
Upon one of our recent trips to the West End, 2D and 3D students visiting our friends over at Realise Studios and Glassworks London spotted this intriguing sign outside of Sci Fi Mecca 'Forbidden Planet'. Unbeknownst of what it meant, we naturally visited the suggested website, and of course Twitter, to find out the back story of exactly what had happened outside of Forbidden Planet on September 24th.
Once upon a time, in a world full of extremely complex effects, there was a place where people thought that only explosions, giant robots, monsters and set replacements could cause their jaws to drop, then a company called Bot & Dolly decided to show to everyone how they could make something compelling and inspiring... just with primitives!
So you think that visual effects today are really advanced, right? Think that they can do everything? Well think again friends, because the best is yet to come!
It's been over two hours since I set a waypoint on my map, to go and steal a submarine for my next heist, but I'm nowhere near the location. I just keep getting distracted. Instead I robbed an armoured car by blowing it's doors off while cruising down the motorway and grabbing the loot. After I lost the cops, I stopped a mugging and returned a woman's purse. Then I jumped in a cable car and rode it to the top of a mountain, stole a dirt bike and accelerated down the steep cliffs getting wild air and pulling front flips for style and just about made it to the bottom before I bailed, and was eaten by a mountain lion.