The future of visual effects in films, TV, and VR; from crossing the uncanny valley in human animation, to light-field camera technology that will change the way moving images are captured.
The Royal Ocean Film Society: I’ve been asked a lot what the process of making these essays is like, but rather than just droll on about recording voiceover, late night editing sessions, and falling into despair upon seeing the first cut, I want to take these few minutes to talk about how that working process has evolved creatively over the past year, and about where I’m trying to take these essays in the future.
kaptainkristian: A look at the hidden visual effects work of David Fincher’s filmography.
I knew that Fincher used a lot of CGI, but I had no idea how far he had taken this trickery. It’s hugely effective stuff.
This Guy Edits: “The Room” by Tommy Wiseau is one of the best movie experiences you’ll ever have. I’m nerding out on Wiseau’s blocking, but there’s so much more to his genius. I truly am a big fan.
You won’t hear the “Star Wars” theme in “Rogue One,” but the newest movie’s score does pack a bunch of other little musical references to the original saga. And if you reeeaaally strain your ears, you might actually hear that main theme after all. (via digg)
See also: Lord Of The Rings: How Music Elevates Story — Evan Puschak talks about Howard Shore’s use of leitmotifs.
TechCrunch: Pixar’s previous Khan Academy courses include topics like virtual cameras, effects and animations, but this is the first to focus on the less technical aspects of movie creation.
Chez Lindsay: I wanted to do a brief overview of three non-dialogue elements from Mad Max: Fury Road — The silver spray, Max’s blood and Max’s boot. Your basic narrative planting and payoff will include a setup, a reminder, and the payoff.
See also: Other posts on this blog about Fury Road