Syd Mead — the visual futurist behind the iconic look of Blade Runner — had praise for Tesla founder Elon Musk, calling him “endlessly inventive” at the Trojan Horse Was a Unicorn VFX, game and animation festival, which recently wrapped in Troia, Portugal.
Producer Gale Anne Hurd, cinematographer John Bailey, visual effects supervisor John Knoll and editor Michael Tronick have joined the Science and Technology Council of the Academy of Motion Picture Arts and Sciences.
This brings the 2014–2015 Council to 25 members. It's co-chaired by Craig Barron, an Oscar-winning VFX supervisor and former Academy governor; and Paul Debevec, chief visual officer at the USC Institute for Creative Technologies.
The American Society of Cinematographers Color Decision List (ASC CDL)—developed by the ASC Technology Committee with contributions from a broad group of industry participants—will receive the Hollywood Post Alliance Judges Award for Creativity and Innovation in Postproduction.
Hollywood is “entering a new golden age of cinematography,” declared International Cinematographers Guild president and director of photography Steven Poster as he kicked off the 18th annual Emerging Cinematographer Awards ceremony Sunday at the DGA Theater.
And during his welcome, he emphasized that he continues to use the word “filmmaking. ... I didn’t say movimaking, because we do honor our past.”
Filming with unmanned aerial systems, also known as drones, “became a lot easier as of this morning,” enthused aerial camera operator and multirotor pilot Robert Rodriguez, also a Technicolor employee.
Rodriguez spoke Thursday evening at a program on the use of drones in production, hosted by the Hollywood section of the Society of Motion Picture and Television Engineers.
Following months of speculation, the Federal Aviation Administration has approved operator exemptions for six aerial production companies to use small, unmanned aircraft systems (UAS), or drones, for filming motion pictures and television programming in U.S. airspace.
The Federal Aviation Administration is expected to make an announcement on Thursday that would loosen the regulatory restrictions on the use of unmanned aircrafts systems (UASs), or drones, in movie and TV production.
Nineteen companies and organizations including ARRI, Disney and Dolby were recognized for “advancing entertainment through technology” at the International 3D and Advanced Imaging Society’s fifth annual Entertainment Technology and New Product Awards on Wednesday during a luncheon at Paramount Pictures.
VFX studio Atomic Fiction — formed four years ago in the Bay Area with projects including Robert Zemeckis’ Flight — has settled into its second base, Montreal.
Both the Oakland, Calif., and Montreal bases of the company are currently working on Zemeckis’ next film, The Walk, which tells the story of Philippe Petit, the man who walked on a wire between the towers of the World Trade Center in 1974.
Director of photography John Bailey—who credits include Ordinary People, American Gigolo and The Big Chill—will receive the Lifetime Achievement Award at the 29th annual American Society of Cinematographers Awards for Outstanding Achievement, February 15 at the Hyatt Regency Century City.
Camera maker ARRI has finally made its anticipated leap into the high-resolution market with the unveiling the ARRI Alexa 65, a new 65mm large format version of its popular Alexa camera that supports resolution up to 6K.
Visual effects veteran Scott Ross reflected on the heated disagreements he had with James Cameron during the making of Titanic and the impact it might have had on Digital Domain — the VFX company that Cameron, Ross and the late Stan Winston founded in 1993 and which handled the Oscar-winning work on Cameron’s epic film.
VFX industry vet Scott Ross, the co-founder and former CEO of Digital Domain, asserted that the state of the visual effects business today is as "f—ed up as it has ever been — I wish I could say it’s gotten better, but it’s gotten worse."