Last weeks I wrote about Harry Potter and asked you whether or not you would be watching the last instalment it in 3D (The Harry Potter finale: 2D or 3D?). Many of you replied back through Facebook and on this blog – thanks to all of you who took the time to do so.
His films certainly divide modern critics and audiences alike, which is perhaps no surprise. In a Hollywood saturated with formulaic product for multiplex audiences, his films are an anomaly, breaking from a conventional narrative and featuring extended, languid shots of the natural world that often serve to emphasise his character's - and therefore Man's - insignificance in the face of events.
Here is an amazing use of Xbox Kinect or PlayStation EyeToy: desktop motion capture!
We have talked recently about how well the UK is doing in VFX so it's nice to see some noise happening in the US also. Digital Domain saw its revenue from visual effects climb to $101.9 million last year - up 70% from 2009, according to its filing. Whilst DD have already had one attempt at going public in 2007, they seem convinced that now is possibly the right time.
It’s always good when people respond to the blogs we write. The one I wrote last week about the MTV advert animation got a great response when we tweeted the link, with @anthonygelatka pointing me in the direction of another great piece of animation.
No doubt you’ve heard about Rockstar’s latest release LA Noire - apparently a completely new type of video game. Up until recently, most games have been all about hand eye co-ordination but in LA Noire, which is set in the late 40s, the main skill is about being able to judge body language and characters’ faces to figure out if they’re lying or not - or ‘emotional perception’ as some are calling it.
This week Escape is very pleased to welcome Mark Pascoe from Rushes to speak to our current classroom students. Mark joined Rushes 5 years ago off the back of the Visual Effects Production Grade course at Escape, doing the Maya comprehensive course before that. He is currently in the Film and TV department at Rushes, taking up a technical role on projects. He has also been nominated for an Emmy for Outstanding Visual Effects in a Series.
The chances are, if you’re reading this blog, you’ve got more than a passing interest in the film industry. Alright, specifically the VFX part, but still, you’re keen to know as much as you can about the industry, and possibly how you can break into it (hopefully with our help…).
I came across an interesting little article yesterday on PodcastFilmReview.com about the top ten uses of special effects for story telling. It was refreshing to see someone looking at this from the angle of the story telling rather than just for the special effects themselves.
We were all delighted for our friends at Double Negative on Sunday, as they scooped an Oscar for their VFX work on Inception, and the whole country was feeling a touch of national pride as Brits dominated the ‘big’ awards. No matter what your thoughts on the future of British film, it was certainly a good day to be a part of the UK film industry.
WETA are doing what they can for the victims of the Christchurch earthquake by hosting an auction on ebay of some famous collectibles. So, if you fancy getting your hands on some pretty cool and rare film memorabilia while doing your bit for charity, now is your chance. Check it out here.
I don’t think anyone was too surprised by last night’s BAFTAs. Personally, I was really pleased to see Inception win the Special Visual Effects award. With the hardware becoming more powerful, the software more sophisticated and the work ever more creative, as an industry the bar is set incredibly high, and it’s always great to see how people are constantly pushing the boundaries of what’s possible. It’s even more impressive when you consider who else was nominated.