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Justice League Crew Members Trumpet The Hopeful Tone Of DC Ensemble Movie; New Image Of The Batsuit Emerges

Shortly before giving up directing duties on The Batman – he’s still attached to produce and star, for now – Ben Affleck likened the upcoming Justice League movie to the Dceu’s rebirth.

It’s a fairly accurate description, too; following the back-to-back disappointment of Batman V Superman and Suicide Squad, Warner Bros. is banking on Zack Snyder’s ensemble movie to deliver the goods, and effectively fire their shared universe on track. Wary of repeating the same mistakes over again, we’ve heard reports in the past of WB brass reshuffling their deck to allow for a more light-hearted spin on DC’s finest heroes, and that’s something that really shone through in the Justice League Comic-Con trailer.

Now, as we inch ever closer to release, crew members Damon Caro and Bryan Hirota sat down with Heroic Hollywood to discuss the film’s hopeful tone. Assistant Director Damon Caro
See full article at We Got This Covered »

New Bts Shots From Batman V Superman: Dawn Of Justice Bring You Into The Warehouse

See Full Gallery Here

Whether you loved it or hated it, you can’t deny that Zack Snyder’s Batman V Superman: Dawn of Justice had at least several exciting, well-executed moments. They may have been few and far between, but they were there and one of them is, without a doubt, that thrilling warehouse scene.

If you’ve seen the film (which, let’s face it, you definitely have by this point), you surely know what we’re referring to and now, some new behind the scenes images have arrived online to give us a better look at it. Though there’s nothing here that’s going to stop the presses, fans will no doubt appreciate getting a peek at what went into bringing this particular moment to life.

Debuted by Heroic Hollywood, the stills were accompanied by a rather interesting interview as well, with assistant director Damon Caro
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Amazing Behind-The-Scenes Photos And Details From Batman v Superman's Epic Warehouse Scene

Batman v Superman: Dawn of Justice had a lot of cool moments, but chief among them was that warehouse scene. While many fans were understandably disappointed to see Ben Affleck's Caped Crusader murder a bunch of dudes, it was truly like seeing the comic books come to life as he leapt into action in a bid to save Martha Kent. Now, a new batch of behind-the-scenes images have surfaced.  You can check those out below courtesy of Heroic Hollywood, while they also caught up with assistant director Damon Caro and visual effects supervisor Bryan Hirota. You can read that over at the site, and it's revealed that it was the first scene shot by Zack Snyder due to its complexity and that the only time Batman was CGI was when he blasted through the floor. The hero's cape was also a special effect! What do you guys think of these new images?
See full article at ComicBookMovie »

Going with the Flow: Bryan Hirota & Danielle Plantec talk about 300: Rise of an Empire

Trevor Hogg chats with Bryan Hirota and Danielle Plantec about the visual effects work created by Scanline for the latest instalment of the 300 franchise…

Bryan Hirota

“I was the client contact and handled the on-set supervision for Scanline in Bulgaria,” explains Scanline VFX Supervisor Bryan Hirota. “Once principal photography wrapped I stayed in the La office and supervised the teams there. Danielle was in Vancouver nearly full-time and supervised the teams in that location. Given her experience working in the Munich office for a number of years it made sense for Danielle [Plantec] to oversee the work sent there as well. Stephan oversaw all Flowline simulation.” Orchestrating the visual effects for the stylish historic epic helmed by Noam Murro (Smart People) was Richard Hollander (Wall•E). “I’ve known Richard for many years so it was easy to establish a dialogue with him while we were in Bulgaria during principal photography
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Grimm Reality: The Making of Snow White and the Huntsman

Trevor Hogg chats with visual effects supervisors Cedric Nicolas-Troyan, Phil Brennan, Todd Shifflett, Bryan Hirota, Nicolas Hernandez, Edson Williams, Steve Moncur and Angela Barson as well as effects supervisor Lindsay MacGowan, Nvizage owner / founder Martin Chamney and creative director Henry Hobson about their work on Snow White and the Huntsman...

“I have a long standing relationship with Rupert [Sanders]; for the last eight years I did a lot of his commercials so when Snow White and the Huntsman [2012] came along he wanted me on the job,” recalls Visual Effects Supervisor Cedric Nicolas-Troyan (Solstice) as to how he came to get involved with the re-imagining of the classic Brothers Grimm fairy tale. “At the time I had retired from visual effects and was directing commercials on my own, but the opportunity was too big to refuse.” The two veteran collaborators share a similar creative style and sensibility. “It was more about figuring
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Hell Unleashed: The Making of Wrath of the Titans

Trevor Hogg chats with Visual Effects Supervisors Nick Davis, Gary Brozenich, Olivier Dumont and Bryan Hirota as well as CG Supervisor Martin Chamney about their work on Wrath of the Titans...

“It certainly changed the stylistic approach towards them,” states Visual Effects Supervisor Nick Davis (The Dark Knight) who collaborated with filmmaker Louis Leterrier on Clash of the Titans (2010), while Jonathan Liebesman helmed its sequel Wrath of the Titans (2012). “With the first movie we had more of a comic book fantastical moviemaking style and when we came to the second movie, it was a rougher, rugged documentary realistic style of filmmaking that Jonathan wanted to do.” Replacing the Kraken as the signature creature in the cinematic franchise is the volatile Greek mythological deity who fathered Hades, Hera, Poseidon, and Zeus. “Probably the most challenging part was Kronos and the end battle. How do you design a 2000 foot tall creature that gives you scale,
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"The Tree of Life," Round 2

Updated through 6/7.

In yesterday's Los Angeles Times, John Horn and Steven Zeitchik report on the uphill battle Fox Searchlight will be fighting this summer as they roll out Terrence Malick's The Tree of Life from just four theaters this weekend in New York and Los Angeles to eight more cities next week, all the way to 200 by the July 4 holiday weekend. In short, they realize that Brad Pitt and the Palme d'Or alone won't hack it. If marketing success were measured by the sheer bulk of critical coverage, though — and, Lord knows, it isn't — the team could already be resting on its laurels.

Reverse Shot, for example, has spent all this past week with the film, running five essays in all. Here in The Notebook, we've had Daniel Kasman's first impressions from Cannes and, on Thursday, Ignatiy Vishnevetsky's (if you'll allow us) magnificent review. Both follow, of course,
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Vision Quest: The Making of The Tree of Life

Trevor Hogg chats with visual effects supervisors Dan Glass and Bryan Hirota about the creation of Terrence Malick's latest, The Tree of Life...

Considered by many to be an enigma because of his reclusive nature and the long gaps between his films, American director Terrence Malick returns to the big screen with The Tree of Life (2011). Partly autobiographical, the story revolves around a boy growing up in the 1950s American Midwest whose relationship with his strict father and nurturing mother haunts him into adulthood. Featuring a cast of Brad Pitt (Se7en), Sean Penn (Mystic River), Jessica Chastain (Jolene), Joanna Going (Inventing the Abbotts), Jackson Hurst (The Mist), Fiona Shaw (Fracture), Crystal Mantecon (The Waiter), and Tamara Jolaine (Tough Love), the drama ignited worldwide curiosity when word came out that it included footage involving the formation of the universe. Could this be the resurrection of the mysterious project Q which
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Image Conscious: A conversation with visual effects supervisor John "DJ" DesJardin

Trevor Hogg chats with visual effects supervisor John 'DJ' Des Jardin...

“2001: A Space Odyssey was my inspiration in 1968 when I was seven years old; it freaked me out even at such a young age because it seemed so real,” states Warner Bros. Visual Effects Supervisor John “DJ” DesJardin whose fascination with science fiction saw him attempt to translate his mental images into cinematic ones. The native of Wisconsin attended the University of Michigan with a particular career path in mind. “I actually went there with the intention of being a marine biologist of all things because they had really good science programs. During my freshmen orientation they started talking about the film program there and I immediately switched. It was like something went off inside me and said, ‘I could go to school, practice this thing I’ve been doing off to the side, and do it for real.
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Image Conscious: A conversation with visual effects supervisor Bryan Hirota

Trevor Hogg talks to Sucker Punch and The Tree of Life visual effects supervisor Bryan Hirota...

One of the recent additions to the staff of Pixomondo is veteran visual effects supervisor Bryan Hirota; he has worked on over 50 films starting with Demolition Man (1993) as a computer graphics designer. “My Mother has a Masters of Fine Arts; she has always done paintings and drawings,” states Hirota. “My Dad has an engineering background. I’ve been exposed to a mixture of both.” The early exposure to the arts and practical analysis has served him well. “You have to be able to approach stuff with an artistic sensibility because you’re trying to create imagery that evokes emotional responses. But at the same time if I am leading a group of artists...I’m also responsible to come up with the technical approaches that we are going to take to solve the problems
See full article at Flickeringmyth »

New Details Revealed About ‘Tree of Life’ Including the Use of CGI Dinosaurs

Not much is known about Terrence Malick’s upcoming film, The Tree Of Life, since the director prefers to remain secretive about all of his projects. The trailer released just before the end of 2010 was just enough to whet our appetites and from what little we saw, the film looks incredible. We caught a glimpse of the usual beautiful cinematography that normally accompanies the director’s films, and enough to understand that the story follows the life of a father in the 1950s (Brad Pitt) and his son Jack , played as an adult by Sean Penn. Blogs exploded with comparisons to Darren Aronofsky’s The Fountain, but what we didn’t see in the trailer was dinosaurs. However, according to The Playlist, VFX artist Mike Fink said in an interview last year that, “We’re just starting work on a project for Terrence Malick, animating dinosaurs, the film is The Tree of Life,
See full article at SoundOnSight »

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