The One & Only Ivan at MPC
Episodic TV , Filmmaking , Films , Post Production , Visual Effects AngelinaJolie , BenJones , body tracking , CG , cg animation , CG assets , CG doubles , CG environments , CG Lab , CG Lab VFX , CGI , CGI Nexus , CGI Nexus VFX , cleanup , Comping , Compositing Features , DannyDeVito , Digital Doubles , Digital Environments , Disney , DisneyAdventure , green screen , Look Development , lookdev , match moving , movies , MPC , OneAndOnlyIvan , rigging , roto , rotomation , Rotoscopy , SamRockwell , The CG Lab , TheaSharrock , vfx , visual effects
Unlike The Lion King, the animals in The One and Only Ivan were required to interact with real live action humans as well as in scenes that were fully digital, most noticeably in the back of the stage enclosure. From a production perspective, this meant the filming was in two distinct parts, which were split approximately 50:50.
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Belgravia : How Do You Turn Old Buildings Into New?
Cinematography , Crime , Drama , Episodic TV , Post Production , Visual Effects Belgravia , BlueBolt , body tracking , cg animation , CG assets , CG doubles , CG environments , CG Lab , CG Lab VFX , CGI , CGI Nexus , CGI Nexus VFX , cleanup , Comping , Compositing , Digital Doubles , Digital Environments , Episodic TV , green screen , Henry Badgett , Look Development , lookdev , match moving , rigging , roto , rotomation , Rotoscopy , The CG Lab , vfx , visual effects
… you needed to turn some buildings that already had that wear and tear into something incredibly new?
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Re-Creating L.A. Of The 1930s For Penny Dreadful : City Of Angels
Cinematography , Crime , Drama , Episodic TV , Post Production , Visual Effects body tracking , cg animation , CG assets , CG doubles , CG environments , CG Lab , CG Lab VFX , CGI , CGI Nexus , CGI Nexus VFX , cleanup , Comping , Compositing , Digital Doubles , Digital Environments , Episodic TV , FuseFX , green screen , John Heller , Look Development , lookdev , match moving , Penny Dreadful , rigging , roto , rotomation , Rotoscopy , Showtime , The CG Lab , vfx , visual effects
When Showtime sought to re-create a ‘1938 Los Angeles’ for Penny Dreadful: City of Angels, it looked to visual effects from FuseFX to adjust and augment modern photography to make the setting appear period-correct.
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