Directed by: Arev Manoukian
Produced by: Stephanie Swedlove & Arev Manoukian
VFX by: Marc-Andre Gray
Music by: Samuel Bisson
Starring: Michael Coughlan & Megan Lindley
Cinematographer: Arev Manoukian
Casting: Jeff Marshall
Assistant Director: Andrew Cividino
Production Designer: Arev Manoukian & Marc-Andre Gray
Art Director / Costumes – Dan Levy
Camera Operator: Jay Pavao
Camera Assistant: Max Armstrong
Gaffer: Alan Poon
Editor: Arev Manoukian
Compositor / Animator: Marc-Andre Gray
Effects Supervisors: Marc-Andre Gray & Arev Manoukian
Additional Compositing: Arev Manoukian
Matte Painter: Pat Lau
Colourist: Andre Chlebak

The Third & The Seventh from Alex Roman

A FULL-CG animated piece that tries to illustrate architecture art across a photographic point of view where main subjects are already-built spaces. Sometimes in an abstract way. Sometimes surreal. Made by Alex Roman (Madrid, Spain)

Credits:

CG: Modelling,  Texturing, Illumination and Rendering: by  Alex Roman
POST: Postproduction and Editing: Alex Roman
MUSIC: Sequenced, Orchestrated & Mixed by Alex Roman (Sonar & EWQLSO Gold Pro XP)
Sound Design by Alex Roman
Based on original scores by:
Michael Laurence Edward Nyman (The Departure)
Charles-Camille Saint-Saëns (Le Carnaval des animaux)
Directed by Alex Roman
Software used: 3dsmax, Vray, AfterEffects and Premiere.

thirdseventh.com
Making Of Exeter Shot

Compositing Breakdown (T&S)

Lju by PhotoMocha from StrongMocha on Vimeo.

Model: -Lju-
Visa: -Lju-
Photographer: Thorsten Meyer
Photos can be found here: photomocha.com/photographer-thorsten-meyer/

Shoot on Canon 5D Mark II
Software used: After Effects CS4 (Main VFX program we use)
Cineform ProspectHD (Speed up the workflow with CineForm’s fast compression)
Redgiant’s Magic Bullet Looks (used for the looks)

PhotoMocha.com
Sense of Delight

On view from November 22, 2009, through April 26, 2010, the exhibition brings together over 700 examples of sketchbooks, concept art, drawings, paintings, photographs, and a selection of his amateur films, and is the Museum’s most comprehensive monographic exhibition devoted to a filmmaker.

An extensive film retrospective spanning Burton’s 27-year career runs throughout the exhibition, along with a related series of films that influenced, inspired, and intrigued Burton as a filmmaker. Tim Burton is organized by Ron Magliozzi, Assistant Curator, and Jenny He, Curatorial Assistant, Department of Film, with Rajendra Roy, The Celeste Bartos Chief Curator of Film, The Museum of Modern Art.

The exhibition is on view throughout the Museum: the Special Exhibitions Gallery on the third floor features hundreds of drawings, paintings, sculptures, sketchbooks, and moving image works.

Downstairs, in the Museum’s Roy and Niuta Titus Theater Lobbies, a selection of largescale Polaroids created by Burton is joined by a selection of domestic and international film posters from his feature films, while musical compositions specifically chosen for the exhibition by Burton’s longtime collaborator Danny Elfman plays over the gallery’s speakers.

In MoMA’s Agnes Gund Garden Lobby and Abby Aldrich Rockefeller Sculpture Garden, a large-scale balloon and a deer-shaped topiary inspired by Edward Scissorhands are on view.

Mr. Magliozzi states: “While Tim Burton is known almost exclusively for his work on the screen, including Beetlejuice, Batman, Edward Scissorhands, Tim Burton’s The  Nightmare Before Christmas, and more recently Sweeney Todd, this exhibition covers the full range of his creative output, revealing an artist and filmmaker who shares much with his contemporaries in the post2 modern generation who have taken their inspiration from pop culture. In Burton’s case, he was inspired by newspaper and magazine comics, cartoon animation and children’s literature, toys and television, Japanese monster movies, carnival sideshows and performance art, cinema Expressionism and science-fiction films alike.”

MoMA’s exhibition draws extensively from the artist’s personal archive, as well as from studio archives and the private collections of Burton’s collaborators, and includes art  from a number of early, unrealized projects. Never-before-exhibited drawings, paintings, and film props, as well as virtually unseen films—including Burton’s 1983 live-action,  Asian-cast adaptation of Hansel and Gretel—and early student films, are on view.

Visitors enter the Special Exhibitions Gallery on the third floor through a spectacular three-dimensional monster’s mouth. Inspired by Burton’s unrealized film project Trick or Treat (1980), the entrance was created for the exhibition by TwoSeven Inc. Upon passing through the creature’s mouth on its red-carpeted tongue, visitors proceed through a corridor lined floor to ceiling with Burton’s signature black-and-white stripes, and a presentation of Burton’s The World of Stainboy Internet series plays on six large monitors. In the galleries the exhibition is organized in three sections, each in relation to Burbank, California, the city in which Burton was raised and the inspiration for much of his early work.

The film retrospective Tim Burton presents Burton’s entire cinematic oeuvre of 14 feature films, eleven of which are in MoMA’s film collection. These 14 feature films—Pee-wee’s Big Adventure(1985), Beetlejuice (1988), Batman (1989),  Edward Scissorhands (1990), Batman Returns (1992), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Mars Attacks! (1996), Sleepy Hollow (1999), Planet of the Apes (2001), Big Fish (2003), Tim Burton’s Corpse Bride (2005), Charlie and the Chocolate Factory (2005), and Sweeney Todd: The Demon Barber of Fleet Street (2007)—will be screened over the course of the five-month exhibition in the Museum’s Roy and Niuta Titus Theaters, along with his early short films Vincent (1982) and Frankenweenie (1984).

A director of fables, fairy tales, and fantasies with an aesthetic incorporating the Gothic, Grand Guignol, and German Expressionism, Burton has created a body of films marked by striking visuals, indelible characters, and a distinctive and uncompromised point of view. Organized by Ron Magliozzi, Assistant Curator, and Jenny He, Curatorial Assistant, Department of Film, with Rajendra Roy, The Celeste Bartos Chief Curator of Film.

Website: www.moma.org
Blog: www.moma.org/insideout
Facebook: www.facebook.com/MuseumofModernArt
Twitter: www.twitter.com/MuseumModernArt
Videos: www.youtube.com/momavideos
Flickr: www.flickr.com/groups/themuseumofmodernart/

Avatar is nominated for 4 Golden Globe (…so far). Avatar passed the  1 billion mark in worldwide gross in only 17 day. The Budget for Avatar was $280,000,000 (estimated). Quite a nice payback.

James Cameron’s Vision Featurette:

Samson Featurette: How it was developed and designed:

Concept Artist, Neville Page, discusses the design of the Banshee, one of Pandora’s fearsome creatures.

Ty Ruben Ellingson discusses his design concept for the AMP suit used in James Cameron’s epic new film, Avatar

A look at the world of Pandora, as portrayed in James Cameron’s epic new motion picture, Avatar:

Jon Landau, Producer of “Avatar” talks a bit about how Adobe software was used throughout the production of Avatar. Jon talks about PhotoShop, InDesign, Lightroom, After Effects (which was used on the set), Premiere Pro.

The Avatar Trailer if you did not see the movie yet:

Official Avatar Movie

Nocturne is a video shot using two pre-release Canon EOS 1D Mark IV DSLRs in Los Angeles. Nocturne is shot entirely in available ligh. To read Vincent Laforet’s comments on the making of Nocturne, please visit blog.vincentlaforet.com. Nocture is co-directored by Stu Maschwitz and David Nelson. Canon lenses used for the film Nocturne: EF 16-35mm f/2.8L II , EF 24-70mm f/2.8L , EF 24mm f/1.4L II , EF 50mm f/1.2L , EF 85mm f/1.2L II , EF 100mm f/2.8L IS Macro, EF 200mm f/2.0L IS, EF 300mm f/2.8L IS, EF 500mm f/4.0L IS

Click here to get more information or buy the Canon EOS 1D Mark IV at amazon.com.

Stargate Studios demo reel showing what you can do with Green Screen (or Chroma key). Stargate has studios in Los Angeles and Vancouver with over 150 artists, supervisors, and producers covering all areas of digital production and visual effects.  Stargate Studios provides a turnkey solution to high concept film and television production and is the only independent entity which blends all the available production technologies into one fully integrated, high tech production and editorial service.

See also:

• How to build a mobile green/blue screen
• Building a Chroma Key on a low budget (Google Knol)
• How Blue Screens Work