- a wall system where every Users (just need to Register) can publish a Status, Blog post, Quote or Link. Page will refresh automatically.
- a Private Message Board to contact each other in private.
- a Chat system at the bottom of the page, limited to 10 users for now.
- a Message Board to let people publish some job opportunities, announcement or reels.

You can use the wall to share anything you want, link, news, tips, your mood, or ask for question when you need some help, or if you are struggling with something. The idea is to offer a very flexible, easy, and automatic platform where people can access information very quickly.

We also have a blog roll presenting the latest news from the most important VFX website.

Also in development :

- a Toolbox, with a lot of very usefull links
- a global VFX Wiki, if people are interested in helping to this big feature
- an image bank

It’s here : http://portal.makingfx.net
Just need to Register

Hi Harry, thanks for taking few time to answer my few questions.

Paul Franklin and the Dneg’s team on Inception just won the Oscar for the best VFX. What is your first reaction after the announce of the result ?

I was thrilled to see Mike Chambers, up on the stage for the Oscar He was a VFX producer on “Inception”. Very exciting! I had worked with him for ten years at Boss Film many years ago, as well as, at Digital Domain on “True Lies”. “Inception” well deserve the Oscar!
Doug Smith was my boss on “Independence Day”. It was extremely exciting to see him receive the Oscar as well!

You’ve been working as Motion Control operator and DP for many years. Today, we can create a lot of full CG shots, without using any miniature or models. Do you feel that something changed in your work in the last few years ?

Certainly. There is very little demand now for motion control for miniatures. I believe that there is still some for location and live action work. It’s still a great format and craft. However, CGI has come a long way. Most CGI work is credibly versatile and completely stunning! I have not done any motion now for approximately 14 years.

What Motion Control can do that couldn’t be replace by another technique ?

It’s difficult to say. There are so many technical and creative options available to the VFX Supervisor and crew. Which techniques to be initiated are decisions based on design, practicality, efficiency and budget. Much like anything else in the movie business.

What would you like to say to young people that are discovering today the Special Effects industry through Digital Effects only ?

Although the tools in the VFX business have changed and improved phenomenally . . . with absolutely stunning results . . . the disciplines and craft remain the same. Study the basics of cell animation, traditional Visual Effects, photography and cinematography. All of these apply to whatever tool you choose to use. I believe that at Pixar . . . the new animators are required to study traditional cell animation before they are attached to a computer. This is evident in the masterful work that they produce!

What is your best souvenir in your all career ?

Seeing my two little girls, Mary and Caitie, smile, when they watch a movie that I have worked on. I am raising them as good solid hardy geeks. We like a lot of the same Sci-fi movies! It’s a great thing when movies and comic books excite my children the same way they did when I was little! Being a Sci-fi geek is what go the into the VFX and animation business.

However, probably the coolest surrogate souvenir I have, is the first “USS Enterprise NCC-1701″ model that my daughter Mary built a few years ago! And an “X-Wing” fighter my daughter Caitie built. Needless to say . . . my kids are sick huge Trekkies as well!

That being said, I have coats, toys, key rings, tools, photos, all sorts of memorabilia from years gone by from shows that I had worked on. All very precious and valuable. Very sentimental stuff. We all made a lot a friends on those projects!

What would you like to do that you haven’t done yet ?

I am aggressively moving into the Digital Stereoscopic 3D world! And all that goes with it! Wish I had done more earlier! It’s a wonderful new medium which provides for great creativity and visual excitement!

Just like the early days of VFX business!

Thank you very much for your answers, and thank you for following Making FX !

Don’t forget to read the article about Harry J Alpert in the Magazine “All Lights”

First a time laps about the build of the miniature:

Hi, can you describe briefly how you started to work with miniatures and why ?

Through the years, I’ve been lucky enough to work with both set design and CGI. At the same time I’ve always been fascinated by miniature work. Late last year I wrote and directed a short film and we decided to try out some miniature effects. Together with Production Designer Silas Puls we created a miniature set extension. The film is currently in post production and will be online in a couple of months. Recently a new project came up, and we made this test to show the producers.

To make your project, you choose to work with miniatures. What makes you choose this ? What can miniatures offer that CG couldn’t give you ?

I love building physical sets. Miniatures allows you to build even bigger sets and I think the photographed image looks better than a rendered one. I think you can achieve a good result faster with miniatures. Especially with organic scenes. Plus, it’s more fun!

How do you start a project like this ? Do you create a storyboard first ? Few sketches ? Or do you start building directly ?

With this project we made a few sketches and a 3D model in cinema 4D to get the right measurements and lens perspective. But since this was a test project made in just three days we approached it slightly more “rock’n'roll” than we usually would allow ourselves.

We use less and less miniatures in SFX and VFX industry today. How do you feel about this ?

Scale miniature work seems to be a dying art-form. Before, miniatures and optical effects were the only options, now they are wiped out of almost every vfx studio or made into a separate department. And younger studios don’t do it at all. But I think miniatures has a greater potential now than ever because of CGI. And I’m a huge fan of New Deal Studios where
they do it all in one company! Their work is really inspiring. I also love films like Peter Jackson’s King Kong which I think is the perfect combination of set design, miniatures and CGI. Someone will probably shoot me if I say this, but I’m actually more fond of the look in King Kong than Avatar. All the fantastic imperfections miniatures give you!

Would you like to work in the Special Effects Industry as miniatures maker ? Or did you do this project just for fun ?

I would love to do more miniature work and explore the different technique combinations. I will definitely aim to develop my skills in both fields.

What is your next project ?

Well, I’ve got my own short coming up. But I’m also working Denmarks first stereoscopic 3D feature, which is a family adventure movie. Hopefully it will rely heavily on miniatures.

A final word ? Tell us something you’d like to share with us.

It’s nice to get my hands dirty once in a while, not having to look into a computer screen all day.

here is the first test :

and here is the final shot :

Thank you very much for you time ! Keep up the good work and let us know when you’ll be working on new projects !

A small announcement just to let you know that Cinesite, one of the major VFX Facilities in London just launched a new website and put a new showreel online.

It worth to have a look at this new website which offers shots Full Screen. It’s a good idea. That’s nice.

CINESITE : http://cinesite.com

Industry Expert to Focus on Problem-solving and Advisory Services to Facilitate Cost Effective Live-Action 3D Production

LOS ANGELES, March 02, 2011 | SHOOT Publicity Wire | — In response to the fast-growing and oft times confusing 3D production needs in television and film, industry expert Angela Wilson Gyetvan today launched Digital Whisper. The professional services consulting company aims to provide better clarity, options and recommendations for companies either planning to enter the industry, shoot in stereoscopic 3D, or looking for guidance and insight for the best and most up-to-date resources and technologies within the 3D world.

Despite the incredible growth seen in the 3D industry over the last few years, there has never been a central unaffiliated resource for 3D knowledge and go-to-market strategies for both large and small scale producers of 3D content.

“As with all things new, 3D production has a steep learning curve. Digital Whisper works with all stakeholders at all levels to give them the best solutions for their problems,” said Gyetvan. “We are here to help navigate the back country; identify the necessary resources, and bring all creative visions to life — on time, and on budget — whether it’s a feature film, high-profile football match, or brand-new 3D network. My new shop will focus on tracking and assessing the whisperings and wisdom in the world of 3D entertainment.”

As with every emerging medium, there is a lot of experimentation going on, and a lot of misinformation in the marketplace. The most pervasive myth is the insistence that there is only one “right” way to produce and distribute 3D entertainment. Standards are still emerging and there is confusion due to the myriad of cameras, workflows and distribution paths.

Gyetvan previously served as Vice President, Sales and Marketing for 3ality Digital, the leading developer of enabling technologies for 3D entertainment, and a company that has been instrumental in many 3D firsts: U2 3D, the concert film; groundbreaking live 3D sports and concert broadcasts with the NFL, NHL, BSkyB, Sony and AEG; scripted television shows; the first national 3D television commercial and many feature films.

Prior to 3ality Digital, Gyetvan launched and built companies in multiple industries, including digital media, video-games, e-commerce and consumer products. She has held executive positions with Revver, Electronic Arts, Broderbund Software, Four Seasons Hotels and Resorts and Food.com.

The 7 most popular myths about 3D include:

1) 3D takes at least twice as long to shoot as 2D
In truth, there’s no reason a 3D shoot can’t be completed on a 2D schedule.

2) There’s only one “right” workflow for 3D
There are multiple workflow choices. Selecting the one right for the production company can be overwhelming.

3) Conversion to 3D is either a) Faster, cheaper and better, or b) Faster, cheaper and worse
Neither is true. Conversion is currently neither faster nor cheaper. At the same time, there are a number of circumstances where conversion might work best, or where a combination of live-action and converted footage would be best suited to the production.

4) 3D imposes severe constraints on creative
As in 2D production, there are some things to look out for, but the “rules” of 3D are no less onerous than the rules for 2D. 3D is actually a creative goldmine, as it presents an entirely new visual language to be explored, much as the advent of color in movies created nearly endless opportunity for filmmakers.

5) Only animation and action/adventure movies are suitable for 3D
There is no genre limit. Filmmakers like Martin Scorcese (The Invention of Hugo Cabret), Baz Luhrmann (The Great Gatsby), and Werner Herzog (Cave of Forgotten Dreams) have either made or are making features in other genres. Go where the visionaries are going.

6) No one’s going to watch the news in 3D
People are already watching cooking shows (Guy’s Big Bite) and “Unplugged”-style concerts (The Guitar Center Series) in 3D. It may be a few years off, but the day will come when you’ll be enraptured by Katie Couric’s latest 3D interview.

7) The lack of 3D TV broadcasts standards is strangling the market
The lack of standards is certainly putting some pressure on the market, but the reality is, in the days of increasing fragmentation in forms of delivery and the advent of IPTV to the homes, this is no longer the sort of roadblock it would have been even five years ago.

About Digital Whisper
Based in Los Angeles, Digital Whisper provides research and recommendations regarding creative development, technology and camera choices, budgeting, workflow, post-production, distribution and general market analysis. They provide filmmakers, production companies, broadcasters and advertising agencies the resources to make the best and most economical decisions about how to create successful 3D productions. For more information please visit, www.digitalwhisper.co.

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Source Studio Daily