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Added by Sarv Taghavian--Creative Planet Network, 12/17/12 04:12:13 PM

A Guide to the Visual Effects of 'The Hobbit'

FXGuide goes in-depth with the crew and special effects team of The Hobbit, which involved a return to Middle-earth for many of the key players from The Lord of the Rings trilogy. Says DP Andrew Lesnie, "Once again I’ve been immersed in Middle-earth, and this time around, it’s a completely different technical experience, showcasing the amazing developments that have taken place in the digital realm in the last 10 years. In front of and behind the camera." Read the full piece here.

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Added by Sarv Taghavian--Creative Planet Network, 12/17/12 12:12:43 PM

'The Hobbit' VFX Supervisor Joe Letteri on Returning to Gollum, Gandalf and Middle Earth

The Hobbit's visual effects supervisor Joe Letteri talks about revisiting his iconic CGI creation Gollum, finding new ways to make Gandalf appear 8 feet tall in 3D, and the challenges of creating a digital world that would look good in 48 FPS. He says, "What was great coming back to it is it really was a homecoming. We were looking forward to doing Gollum again. In this business you don't often get to go back and revisit a character...[even though] underneath he's completely different." Read more here on CinemaBlend.

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Added by Sarv Taghavian--Creative Planet Network, 12/12/12 02:12:30 PM

Gorgeous Animation and an Epic Storyline for the Killers Latest Music Video

The new animated video for The Killers' "Miss Atomic Bomb" beautifully recalls the style of 80s action/adventure cartoons, providing a nice visual accompaniment to the band's throwback sound. The live-action segments of the clip even star classic 80s villain Eric Roberts and Isabella Miko (who both starred in the video for the band's breakout hit "Mr. Brightside"). Watch below.

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Added by Sarv Taghavian--Creative Planet Network, 12/12/12 02:12:44 PM

Artist Yue Wu Creates Animation Out of Absolut Bottles

French artist Yué Wu hand drew on 60 white Absolut bottles to create a looping animation for the Absolut Art-Dream project. Watch him describe his process and see the finished installation below. (via PSFK)

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Added by Sarv Taghavian--Creative Planet Network, 12/10/12 11:12:35 AM

Creating a Tsunami for 'The Impossible'

Director J.A. Bayona talks to The New York Times about creating the harrowing tsunami sequences in his new film, The Impossible, based on the events of the 2004 tsunami hitting Thailand. Says Bayona, "“One of the early decisions was not to use C.G.I. water, because it was very expensive, but also because it didn’t feel real. So we decided to go with real water, which was kind of a crazy thing.” Read the full piece here.

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Added by Sarv Taghavian--Creative Planet Network, 12/07/12 04:12:57 PM

Stardust Drives VFX Behind Toyota’s New Rav 4 EV Promo

Bi-coastal production company Stardust created a highly stylized and darkly futuristic world for Toyota’s promo spot for the new Rav 4 EV. Partnering with Saatchi & Saatchi LA, Stardust created a :50 spot featuring a mix of visual effects, photo-real CG and live-action to achieve the final sci-fi look. The spot marks Stardust’s latest push past its traditional high-end motion graphics work, as the company broadens its repertoire in visual effects.

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Added by Sarv Taghavian--Creative Planet Network, 12/07/12 03:12:26 PM

LightWave 3D Helps Deploy 'Battlestar Galactica: Blood & Chrome'

Battlestar Galactica: Blood & Chrome is a new science-fiction drama from NBCUniversal which premiered on Machinima Prime’s YouTube channel for 10 episodes until February 2013 when Syfy, a division of NBCUniversal, is expected to televise the pilot and also offer it on DVD, Blu-ray, On Demand, and digital download. Throughout the history of the Battlestar Galactica franchise, LightWave 3D software has been a constant in the show’s production pipeline for everything from otherworldly atmospheres to earth-shattering visual effects. Blood & Chrome continues the tradition, adding Cylon robots, snake creatures, and more than 20 sets constructed entirely in LightWave 3D.

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Added by Sarv Taghavian--Creative Planet Network, 12/07/12 03:12:00 PM

Hula Post Production Travels the Globe to Serve 'Life of Pi'

In a project that spanned nearly four years and half the globe, Hula Post Production supplied editorial systems and support for Life of Pi¸ the new 3D film from 20th Century Fox and director Ang Lee. One of the industry’s leading suppliers of editorial systems for film and television production, Hula Post Production set up and maintained editorial operations in Taiwan, India, Canada, New York and Los Angeles. With Life of Pi, Mr. Lee (Brokeback Mountain; Crouching Tiger, Hidden Dragon) creates a groundbreaking movie event about a young man who survives a disaster at sea and is hurtled into an epic journey of adventure and discovery. While cast away, he forms an amazing and unexpected connection with another survivor…a fearsome Bengal tiger.

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Added by Sarv Taghavian--Creative Planet Network, 12/07/12 03:12:19 PM

HP and DreamWorks Animation Cast Innovation As A Lead in 'Rise of the Guardians'

HP and DreamWorks Animation SKG, Inc. have marked the latest chapter in their ongoing collaboration by working together to create an epic adventure for worldwide audiences with the breakthrough animation of the studio’s 3D movie, Rise of the Guardians. Like each DreamWorks Animation film before it, Rise of the Guardians, which hit theaters on Nov. 21, pushes the boundaries of digital animation as the studio’s most technically advanced film to date.

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Added by Sarv Taghavian--Creative Planet Network, 12/07/12 02:12:46 PM

yU+co Reteams with Director Ang Lee to Create 'Life of Pi' Stereoscopic Typography For Main Title Sequence and Key Scenes

Life of Pi, Academy Award-winning director Ang Lee’s latest feature, pushes the boundaries of stereoscopic 3D, visual effects and cinematic storytelling. To create the film’s elegantly crafted main title sequence, end crawl and additional key sequences in the film, he again turned to creative director Garson Yu and the creative team at design/visual effects studio yU+co. “I think I share a similar visual aesthetic with Ang, which is why we work well together and he involves us in the filmmaking process. Ang introduced us to this project nearly two years ago when he and his team were still in pre-production,” Yu says. “He was looking to create a new visual language for how stereoscopic 3D can be used to tell a story.”

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