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VISUAL EFFECTS | Moving Target - Part 2
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THE COMPANY MEN VFX MONTAGExxx


 

VFX Supervisor Alan Munro
VFX Producer Brian Jochum
Studio The Weinstein Company
Director John Wells

With any straight drama, the fx work has to be seamless. Hard enough, but when you add a director with an impeccable eye and master cinematographer Roger Deakins, you’ve got yourself some serious challenges. Like for instance, replacing a modest office building with a sprawling multi-national corporate complex. Or transforming an emerald spring day into Halloween. Numerically, it wasn’t a lot of shots; technically, it pretty much ran the gamut. Tough, but worth every lost hour of sleep. The film is an under-appreciated gem.

Click here to see the full length autumn sequence, here to see the other matte paintings, and here to see the main title sequence. It’s all worth a look.

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LOVE & OTHER DRUGS VFX MONTAGExxx


 

VFX Supervisor Alan Munro
VFX Producer Brian Jochum
Studio 20th Century Fox
Director Edward Zwick

Of course the reel highlights the more obvious work — greenscreens, matte paintings, 3D animation, face fixes — but most of the shots are much subtler. A little snow added, a lot of rain subtracted, a room’s color altered, a snap shot replaced. The stuff you’re not supposed to notice. The stuff that’s really hard to do, but doesn’t make the show reel.

If you’d like to see a few of the longer fx sequences, click here and here.

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VISUAL EFFECTS MONTAGE 98


 

Designer/Director/Supervisor Alan Munro
Producer Brian Jochum

My first decade of film work compressed into two minutes. Most of the clips are from four movies: Beetlejuice, Nightmare On Elm Street, The Addams Family, and Addams Family Values. I was both effects supervisor and 2nd unit director on all four. Technically a lot of it wouldn’t pass muster these days. Still, for sheer inventiveness and energy, it’s mostly aged quite gracefully.

If you’d like to see a few of these sequences in their unedited glory, click here, here, and here.

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GET THE GRINGO GUN BATTLExxx


 

VFX Supervisor Alan Munro
VFX Producer Brian Jochum
Studio Icon Productions
Director Adrian Grünberg

Muzzle flashes, ejecting shells, squib hits, breaking glass, exploding mustard bottles, exploding hands. You name it, we shot it apart. Our job was to turn this scene into an epic bloodbath. Mission accomplished.

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GET THE GRINGO OFFICE EXPLOSIONxxx


 

VFX Supervisor Alan Munro
VFX Producer Brian Jochum
Studio Icon Productions
Director Adrian Grünberg

This sequence was fraught with technical and logistical problems. The biggest one being time: the scene had to be thrown together between Christmas and New Years. Not perfect, but lots and lots of fun. Can’t wait for the movie to be released — it’s terrific.

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THE COMPANY MEN AUTUMN SEQUENCExxx


 

VFX Supervisor Alan Munro
VFX Producer Brian Jochum
Studio The Weinstein Company
Director John Wells

Director John Wells wanted a spectacular — but believable — fall day. Once we agreed on a look, the execution was quite a grind. Lots of added details: leaves, water puddles, Halloween decorations. On film, we acheived an extraodinary range of subtle fall colors, but sadly that’s been lost in this video transfer. Most of the scene was shot on a steadicam, which meant it was easier to repaint the entire background as a multi-level matte and then re-track it back in.

For other Company Men work, click here and here.

Posted in FX REELS, VISUAL EFFECTS | Comments Off

LOVE & OTHER DRUGS JILL CLAYBURGHxxx


 

VFX Supervisor Alan Munro
VFX Producer Brian Jochum
Studio 20th Century Fox
Director Edward Zwick

With an older… that is, a more mature actress, one always needs to balance between improving her looks and keeping her age appropriate. That was doubly difficult in this case since Ms. Clayburgh was not in good health (she passed away shortly after the film was completed). The decision was to concentrate less on wrinkles, and more on general skin texture, liver spots, and the whiteness of her teeth and eyes. The results were subtle, almost undetectable, but very effective. I hope she was pleased.

For more Love and Other Drugs fx work, click here and here.

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LOVE & OTHER DRUGS GREENSCREENxxx


 

VFX Supervisor Alan Munro
VFX Producer Brian Jochum
Studio 20th Century Fox
Director Edward Zwick

One of two greenscreen driving sequences. The background driving plates were devoid of source lights, but rather than reshoot, we simply dolled up the foreground with a lot of digital elements: lights, reflections, camera shakes, and so on. The results, though imperfect, are rather convincing.

For an overview of LAOD fx work click here. Also, you should check out the main titles.

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MEN IN BLACK MAIN TITLES

 

Designer/Director Alan Munro
Producer Brian Jochum
Studio Columbia Pictures
Director Barry Sonnenfeld

Director Barry Sonnenfeld had the general idea — adventures of a flying bug — but allowed us the freedom to fill in the details. What fun. Technically the sequence is something of a hybrid. The intrepid dragonfly is an early experiment in digital creature animation, while the background is a combination of miniatures (complete with 1/12 scale traffic), matte paintings, day-for-night shooting at Vasquez Rocks, and a desert-dressed parking lot. Of all our Adventures in Main Titleland, this is the one I’m most proud of. Until the next one, of course.

By the way, the scene was originally cut to Jerry Lee Lewis’ rendition of “Somewhere Over The Rainbow.” I still hear it whenever I watch.

Posted in FEATURE FILMS, FX REELS, TITLES / 2nd UNIT, VISUAL EFFECTS | Comments Off

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