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The Week in Spandex - Man of Steel, The Avengers 2, Iron Man 3, Marvel's Agents of S.H.I.E.L.D., Justice League, Booster Gold, Wonder Woman, The Incredibles 2 and more

Our weekly round up of the latest stories from the world of screen superheroes, including Man of Steel, Justice League, Iron Man 3, The Avengers 2, Marvel's Agents of S.H.I.E.L.D., Captain America: The Winter Soldier, Guardians of the Galaxy, The Wolverine, X-Men: Days of Future Past, The Fantastic Four, The Amazing Spider-Man, Arrow, Booster Gold, Wonder Woman, Teen Titans Go!, Lego Batman: The Movie - DC Superheroes Unite, Avengers Assemble, Hulk and the Agents of S.M.A.S.H., Ultimate Spider-Man, The Incredibles 2 and more...

Seeing as Marvel has pretty much dominated the headlines these past few weeks (well, months actually), we'll start things off this week with the year's next superhero offering Man of Steel. With less than a month to go until its eagerly-anticipated release a full-on marketing blitz is imminent, and this past week saw Warner Bros. debuting three new posters, two TV spots, two new
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Go To Black: The Making of Iron Man 3

Trevor Hogg chats with visual effects supervisors Christopher Townsend, Erik Nash, Bryan Grill, Alessandro Cioffi, Guy Williams, Matt Dessero, Venti Hristova and Vincent Cirelli; animation supervisor Simone Kraus, previsualization supervisor Todd Constantine and postvisualization supervisor Gerardo Ramirez about their work on Iron Man 3. Beware there are spoilers....

“Marvel is a fun and passionate group to work with,” states Christopher Townsend who went from being the visual effects supervisor responsible for Captain America: The First Avenger (2011) to Iron Man 3 (2013). “Their type of films allow for visual effects to be played in a varied playground. It’s great.” The native of Britain jokes, “I keep on coming back for more punishment!” A change behind the camera took place in the third instalment of the franchise which launched the Marvel Universe into the realm of cinematic blockbusters. “Marvel is always keen of eyeing and working with not fans or run of
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Six Stories, Three Filmmakers, One Vision: The Making of Cloud Atlas

Trevor Hogg chats with senior visual effects supervisor Dan Glass; visual effects supervisors Stéphane Ceretti, Matt Dessero, Geoffrey Hancock, Alessandro Cioffi, Florian Gellinger, Angela Barson, Clark Parkhurst, Russell Earl and Falk Gärtner; and executive visual effects producer Ismat Zaidi about their work on Cloud Atlas. Be warned, there are spoilers...

“In a strange way our work relationship isn’t like it ended and began again; we continuously collaborate and have done for many years now,” says Dan Glass of his long-time creative partnership with filmmakers Andy and Lana Wachowski which dates back to the sequels The Matrix Reloaded (2003) and The Matrix Revolutions (2003). “The only break in it was Batman Begins [2005]. While I was doing The Tree of Life [2011] I also did Speed Racer [2008] with them and Ninja Assassin [2009]. Cloud Atlas [2012] came up after Ninja which was directed by James McTeigue. Andy and Lana were given the novel by Natalie Portman
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Eye for Imagery: Looking Inside the VFX Industry

Trevor Hogg chats with VFX Supervisors Alessandro Cioffi, Sean Faden, Richard Higham, Dave Morley, Charlie Noble and Edson Williams about the visual effects industry...

There was a time when visual effects were viewed as B-movie trickery. The path to mainstream respectability began with the landmark release of 2001: A Space Odyssey (1968) and the establishment of Industrial Light & Magic in 1975. With computer technology developing to the point where dinosaurs roam freely in Jurassic Park (1993), Hollywood started to realize that visual effects could be instrumental in increasing the box office tally for its big budget productions. The growing demand from major studios combined with government investment incentives has resulted in the VFX industry expanding beyond California and into countries such as Britain, Australia, Canada, Singapore, and Germany.

“A really good effect is one that remains invisible but features something exceptionally spectacular that I know wouldn't be possible to achieve in camera,” states Alessandro Cioffi,
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