Charming

‘Shrek’ Producer John Williams Launching Animated Production Company

Variety

18 Sep 2014

“Shrek” producer John H. Williams and Henry Skelsey, managing partner of Fulton Capital Management LLC, have formed 3QU Media as a specialist in CG-animated feature films for the international marketplace.

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The Man From U.N.C.L.E.

Cinesite Welcomes Chloë Grysole as the New General Manager of the Montréal Location.

AWN

20 Mar 2014

Cinesite announced that Chloë Grysole has joined as the General Manager of their newly opened Montréal studio, and with her the start of two major productions.

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London Based Firm to Employ at Least 200 at New Canadian Office.

Screen Daily

21 Jan 2014

Quebec premier Pauline Marois has announced that Cinesite, the London-based VFX and animations production company, is to open a Montreal subsidiary that will oversee the company’s North American operations.

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Cinesite Launches Montréal VFX Studio

The Hollywood Reporter

20 Jan 2014

The U.K. visual effects house will do work on Guy Ritchie’s “The Man From U.N.C.L.E.” for Warner Bros. in the new Canadian facility.

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Cinesite VFX to Open Montréal Branch

Variety

20 Jan 2014

London-based company Cinesite VFX will join fellow VFX firms looking to benefit from tax incentives as it sets its sights on Canada.

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Into the Storm

Into the Storm – Visual Effects

Cinefex

12 Aug 2014

Cinesite were tasked with completing work on a variety of sequences throughout the show. “We worked on twisters, building destruction, environment enhancement and clean up,” said Simon Stanley-Clamp, Visual Effects Supervisor at Cinesite. “These sequences had been started by another facility.”

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Hercules

HERCULES: Simon Stanley Clamp – VFX Supervisor

The Art of VFX

10 Sep 2014

Last year, Simon Stanley Clamp talked to us in details about the Cinesite’s work on IRON MAN 3. He then supervised the visual effects of movies such as WORLD WAR Z, ROBOCOP and EDGE OF TOMORROW.

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Cinesite's Battle Tactics for Hercules Are Revealed

Digital Arts

15 Aug 2014

MGM/Paramount Pictures’ latest release, starring Dwayne Johnson in the title role, is directed by Brett Ratner, with VFX supervision by John Bruno and Dean Wright. Cinesite’s Visual Effects Supervisor was Simon Stanley-Clamp.

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Edge of Tomorrow

Cinesite Builds a Robotic Boot Camp on ‘Edge of Tomorrow’

Digital Media World

14 Aug 2014

As the pace of the story in the sci-fi action movie ‘Edge of Tomorrow’ picks up, it includes a complex, fast-moving sequence in which the hero, officer William Cage, endures a harsh and rigorous series of training sessions in which he battles against robotic versions of the story’s vicious aliens, called Mimics, to perfect his fighting skills.

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Cinesite Creates Man vs. Robot Sequence for ‘Edge of Tomorrow’

CONNECT 2 MEDIA & ENTERTAINMENT

12 Jun 2014

Visual effects house Cinesite was tasked with creating a major sequence in the new sci-fi action film, Edge of Tomorrow, which saw Tom Cruise’s character, Cage, repeatedly battling a giant robot called Mimic.

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300: Rise of an Empire

Cinesite Builds an Empire

CGW.Com

24 Mar 2014

Cinesite VFX Supervisor Richard Clarke worked closely with production VFX Supervisor John “DJ” Des Jardin to create epic 2.5D and 3D environments, including ancient Athens, Sparta, and shoreline encampment shots for the film 300: Rise of an Empire.

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The Monuments Men

A Monumental Role

Computer Graphics World

19 Feb 2014

LONDON – Cinesite, a leading film visual effects house, completed VFX shots on the new Columbia Pictures/20th Century Fox film The Monuments Men.

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RoboCop

How Cinesite's VFX Brought RoboCop's Suit to Life

Digital Arts

7 Feb 2014

London-based visual effects company Cinesite helped bring RoboCop’s suit to life in the new film, which was released today.

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Jack Ryan: Shadow Recruit

Russian Roulette: Jack Ryan: Shadow Recruit

Fxguide

2 Feb 2014

Jack Ryan – which follows a former Marine (Chris Pine) uncovering a plot to devalue American currency – features several Moscow and New York locations that could not always be filmed at their actual locations, the involvement of the film’s visual effects teams, led by principal vendor Cinesite was crucial.

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Beans

Self Promotion, Cinesite Full of Beans

Computer Arts

14 Mar 2014

Even established and well-respected companies are turning to more viral means of promotion. In an increasingly competitive environment, where effects budgets are being squeezed more than ever before, visual effects house Cinesite decided it needed a way to showcase its artists’ work in a more engaging way than the usual showreel of impressive but rather meaningless shots from Hollywood films.

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What’s the Dish on Cinesite’s Beans?

FXguide

5 Jan 2014

When Cinesite wanted to promote their animation capabilities and add to the studio’s already impressive showreel, they decided to push forward on a short film. That project became Beans, a faux commercial directed by animator Alvise Avati and produced by animation director Eamonn Butler. We talk to both artists about the evolution of this moon-monster caper with a musical end.

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Cinesite's Beans – Animated Short

3D Total

18 Dec 2013

Beans is the first animated short film to be made at Cinesite. Animator Alvise Avati and animation director Eamonn Butler reveal all in an exclusive ‘making of’ feature

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Cinesite’s New Animated Short Film Blasts Off

Digital Media World

17 Dec 2013

Cinesite has been interested in producing some of their own animated content for some time, and have now released their first animated short – a sci-fi themed spot set on the moon with a frightening alien creature, photoreal visual effects – and an unexpectedly humorous ending.

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Mock Commercial for Beans is Better Than Almost Any Real Commercial for Anything

Ad Week

16 Dec 2013

Cinesite shows of its chops

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Beans: Cinesite’s First in House Short

3D Artist

16 Dec 2013

Cinesite releases its very first in-house animated short with ‘Beans’, which was written and directed by animator Alvise Avati and produced by animation director Eamonn Butler

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We Challenge You Not to Laugh at Cinesite's First Animated Short, Beans

Digital Arts

16 Dec 2013

Animation director Eamonn Butler tells us how (and why) Cinesite created Beans

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World War Z

WORLD WAR Z: Matt Johnson (VFX Supervisor), Anthony Zwartouw (CG Supervisor) and Thomas Dyg (Environment Supervisor) – Cinesite

ART of VFX

8 Jul 2013

Two years ago, Matt Johnson had told us about the work of Cinesite on X-MEN FIRST CLASS. To talk about WORLD WAR Z, he is accompanied with Anthony Zwartouw (CG Supervisor) and Thomas Dyg (Environment Supervisor).

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Production Focus World War Z [Excerpt]

CG Society

5 Jul 2013

“Starting something new, you’re taking a huge risk,” adds director Marc Forster. “When you have a built-in audience, you can take bigger risks knowing it worked before. That’s not a guarantee it’s going to work again, but doing something more original I find more exciting and interesting.”

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Zombie Warfare: World War Z

fxguide.com

26 Jun 2013

The zombies take the US: Cinesite

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Turning Glasgow Into Philadelphia for the Zombie Apocalypse of World War Z

AWN

26 Jun 2013

Cinesite VFX Supervisor Matt Johnson tells a tale of two “digital” cities in recreating key environments for Marc Forster’s new zombie film.

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World War Z's VFX Supervisor on Creating a Completely New Type of Zombie Film

Digital Arts

24 Jun 2013

World War Z is a different kind of zombie movie. While the classics of the genre from Night of the Living Dead to 28 Days Later are micro-to-low budget films with intense violence and gore (at least for the time), World War Z is a summer blockbuster with a 15/PG-13 rating that’s pitched at a wider audience – and on an epic scale.

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Iron Man 3

Cinesite Powers Up for Iron Man 3

Digital Media World

18 Jun 2013

The final battle in ‘Iron Man 3’ brings together the heroes and villains at night at a floodlit, abandoned marina. This was the primary sequence Marvel approached Cinesite to work on. “We came onto the production just nine weeks before delivery, which is an unusual situation for our team,” said VFX supervisor Simon Stanley-Clamp.

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IRON MAN 3: Simon Stanley Clamp – VFX Supervisor – Cinesite

ART of VFX

24 May 2013

Simon Stanley-Clamp explained the Cinesite’s work on PIRATES OF THE CARIBBEAN: ON STRANGER TIDES on his last visit to The Art of VFX. He then worked on JOHN CARTER and today he explains his work on IRON MAN 3.

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Iron Man 3: More Suits to Play With

FXguide

9 May 2013

“The way that visual effects are these days is that we definitely are the can-do department,” – Chris Townsend. Comments the overall VFX supe on Marvel’s Iron Man 3, reflecting on the crucial role his department played in bringing the film to the big screen. Along with visual effects producer Mark Soper, Townsend co-ordinated 17 studios across the globe and more than 2,000 shots for the Shane Black-directed picture.

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Iron Man 3 CGSociety :: Production Focus

CGSociety

7 May 2013

This was the first foray into the Marvel universe for Cinesite. I spoke to the studio’s VFX Supervisor Simon Stanley-Clamp in London. Cinesite came in nine weeks before completion and finished off 104 shots, with 99 shots making the final movie cut, and two which were awarded on the final day of delivery. “This was a rolling kind of show with changes and some 911 VFX shout outs. With 17 facilities, Chris Townsend’s job as overall VFX Supervisor shielded a lot of us from the changes but we had constant contact with the busy man himself, almost every day,” says Stanley-Clamp. “There were two 2K dailies run every single day of production.”

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Skyfall

Skyfall Station

Digital Media World

14 Dec 2012

After the main shoot for ‘Skyfall’ got started in November 2011, Cinesite’s VFX Supervisor Jon Neill set to work with his team on their sequences deep in the London Underground in January 2012. They worked on a series of scenes following Bond as he pursues the villain Silva into the underground system, taking on a harrowing chase through the tunnels and culminating in a spectacular crash. The team’s task was to combine live action plates shot in a closed off, disused section of railway with action shots staged at the 007 stage at Pinewood Studios, and enhance the composites with 2D and 3D elements and extensions, ultimately constructing the full sets as seen in the film.

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SKYFALL: Jon Neill – VFX Supervisor – Cinesite

The Art of VFX

14 Dec 2012

What is your background? I have a background in traditional art and hold a degree in drawing and painting and a post-graduate diploma in electronic imaging. Before I became a VFX supervisor, I held CG supervisor and lighting roles. My credits at Cinesite include overseeing a large portion of shots on Disney’s JOHN CARTER, WOLVERINE, HITCHHIKERS GUIDE TO THE GALAXY and 3 of the HARRY POTTER films.

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Bond Gets a CG Komodo Dragon for Skyfall

Animation World Network

28 Nov 2012

Cinesite’s Jon Neill discusses creating the first CG character for the Bond franchise along with other VFX mayhem.

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Skyfall

CGSociety

23 Nov 2012

In case you’ve been under a rock, Skyfall is the latest James Bond franchise adventure movie, the 23rd excursion for the Ian Fleming stories. A long list of VFX studios were given rope on the production, including Cinesite, MPC, DNeg and Framestore. Thankfully, the Bond series are not being created in stereo, I’m assuming that it would distract from the more stayed, old-world British aura around the stories. This is however, the very first time a fully CG creature has been employed in the Bond film franchise. Being a replacement for a real creature, the komodo dragon had to be convincingly real at full screen. There were three sequences in particular taken on by Cinesite where the facility used its digital environment expertise to enhance physical stunts and effects for the Skyfall movie.

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Bond’s Boldest Adventure Yet: Skyfall

FXguide

22 Nov 2012

When Komodos attack Back from the dead and tracking his Turkey attacker, Bond heads to Shanghai, and then onto a casino in Macau. Upon leaving the casino, Bond is stopped by security and ends up in a fight amongst a pit of Komodo dragons, who eventually take down one of his assailants. In a homage to the crocodile scene in Live and Let Die, Bond escapes by leaping off one of the Komodo’s backs to safety.

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Cinesite’s VFX Add Finesse to Practical Special Effects in Skyfall

StudioDaily

20 Nov 2012

Just as James Bond traditionally likes his martinis shaken, not stirred, the James Bond franchise has preferred its effects shots to be practical, not CG-driven. “Bond always likes to do things in camera,” says Jon Neill, VFX supervisor for Cinesite, which worked on 87 shots in four sequences in the latest Bond adventure, Skyfall — a CG Komodo dragon sequence and three sequences that are part of a chase set in the London Underground.

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John Carter

UK Effects House Cinesite Sells Debut TV Series to Discovery Networks

The Hollywood Reporter

8 Nov 2012

The cable networks group acquires extreme fishing reality show “Rod and Rucksack” for its channels in Europe, the Middle East and Africa.

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VFX House Cinesite Turns to Production With Travel Series

Broadcast

8 Nov 2012

Visual effects house Cinesite has made its first move into production, selling a travel and adventure series to Discovery Networks.

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2012 Hollywood Post Alliance Awards Announces Nominees

creativecow.net

13 Sep 2012

The HPA has announced the nominees for the 2012 HPA Awards. The Awards honor excellence in post production and bring recognition to the achievements of individuals and companies who are engaged in significant and revolutionary work in post production.

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Cinesite's Fresh Start

fxguide.com

23 Aug 2012

There has been a lot of talk in recent weeks about the state of the visual effects; working conditions, wages, unions, subsidies and the future of the industry in general. But amongst those reports, pioneering company Cinesite has managed to push through a major upheaval – its sale by long-time owner Kodak – to essentially begin a new life.

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Cinesite Inspires With Its First Technical FX Internship

Digitalmedia world.com

14 Aug 2012

Cinesite awarded Firtina Ozbalikci, a second year computer science student, its first Technical Effects placement under the facility’s 2012 Inspire Internship program.

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Finding New Dimensions: The Shape of the Problem

3D World

24 May 2012

What might a dedicated conversion tool look like? One studio with an informed opinion is London’s Cinesite, which recently built a stereo-conversion pipeline from scratch to post-convert 87 minutes of footage for the movie John Carter.

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The Art of VFX: John Carter

The Art of VFX

27 Mar 2012

The Art of VFX settles down with Sue Rowe, VFX Supervisor at Cinesite, to discuss work on John Carter.

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Life on Mars

Computer Graphics World

23 Mar 2012

They aren’t little green men, but the large, strange-looking Martians in the science-fiction romance film John Carter are definitely green. And alien. The Martian barbarians, called Tharks, have four arms, no nose, and head flaps, and they’re violent. And, they aren’t the only inhabitants of the red planet.

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The VFX Show #144: John Carter

Fxguide

19 Mar 2012

Mike Seymour, Jeff Heusser and Matt Wallin take a journey to Mars to review the visual effects of John Carter.

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John Carter 3D Behind the Scenes Exclusive

3D Focus

12 Mar 2012

Disney’s ‘John Carter 3D’ was released last Friday, a film that has been in the planning stage for 81 years. We spoke to the film’s producers who exclusively reveal post production secrets.

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John Carter: The Original Space Adventure

Animation World Network

12 Mar 2012

Go behind the scenes of Andrew Stanton’s first live-action feature and long-awaited Edgar Rice Burroughs adaptation.

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CGSociety Production Focus: John Carter

CGSociety

10 Mar 2012

What does it take to create a planet? A lot more effort than can fit in a seven day week. Ask the hundreds of artists at Cinesite who spent two years creating Martian environments, cities and airships for Disney’s film John Carter, or the 120 animators plus several hundred in the supporting cast at Double Negative who created the big green aliens who populated the planet.

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Mission to Mars

The Daily

10 Mar 2012

An epic journey to the Red Planet, 100 years in the making.

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Why John Carter Has to Be Seen to Be Believed

The Guardian

1 Mar 2012

John Carter is the kind of movie no studio bigwig in their right mind ought to have greenlit – but where else will you see such strange monsters?

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"John Carter": Andrew Stanton Injects 21st Century Mojo Into Mars Tale

LA Times

13 Jan 2012

“Star Wars,” “Superman,” “Avatar” – for decades, Hollywood has found box-office treasure in fantasy science fiction epics about heroes adventuring in strange and mysterious lands. “John Carter,” director Andrew Stanton’s upcoming Martian war tale, is based on the 100-year-old Edgar Rice Burroughs yarn that helped inspire many of those stories.

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Andrew Stanton Q&A

Den of Geek

29 Nov 2011

Andrew Stanton talks about the process of making the forthcoming John Carter, and just why Pixar movies are so brilliant, in a fascinating Q&A… (abbreviated)

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Harry Potter and the Deathly Hallows: Part 2

Familiar Names Dominate Oscar Visual Effects Nominations

C|Net

24 Jan 2012

When the Academy of Motion Picture Arts and Sciences unveiled its Oscar nominations this morning, there were some very familiar names among the honorees.

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Harry Potter and the Deathly Hallows Part 2

Digital Media World

11 Oct 2011

Through to this final film, the world of Harry Potter has been a magic place for VFX artists to test their talents and achieve some of their best work. Cinesite discusses wand duels and infinite staircases for ‘Harry Potter and the Deathly Hallows Part 2’

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X Men: First Class

Cinesite Helps X Men: First Class Achieve 1960s Look

Kodak InCamera

5 Oct 2011

Cinesite UK is one of the largest full-service visual effects and post-production facilities in the world. A wholly-owned subsidiary of Kodak, Cinesite has recently completed more than 115 visual effects shots for X-Men: First Class, which unveils the beginning of the X-Men saga.

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Cinesite’s 115 VFX Shots for X Men: First Class

3D World

13 Jun 2011

Cinesite worked on a range of shots including a retro version of the Cerebro Room, Azazel’s fight sequences, a military parade in Red Square, and Washington DC, devastated by nuclear war.

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Pirates of the Caribbean: On Stranger Tides

On Stranger Tides

Digital Media World

5 Sep 2011

Adriene Hurst of Digital Media World interviews Simon Stanley-Clamp, VFX supervisor, and Michele Sciolette, head of VFX technology about Cinesite’s work on “On Stranger Tides”

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Pirates of the Caribbean: On Stranger Tides

The Art of VFX

3 Jun 2011

The Art of VFX settles down with Simon Stanley-Clamp, VFX Supervisor at Cinesite, to discuss work on “On Stranger Tides”

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Cinesite Studio Profile

CGSociety

3 Jun 2011

Renee Dunlop of CGSociety profiles Cinesite upon the release of “Pirates of the Caribbean: On Stranger Tides”

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Battle: Los Angeles

Coordinating Another Alien Invasion

CGsociety

15 Mar 2011

CGsociety’s Paul Hellard gets a look in on Cinesite’s work for the Battle: Los Angeles. The film follows a marine platoon that’s battling against an alien invasion. Cinesite’s Ben Shepherd was that facility’s VFX Supervisor, responsible for a tally of 110 shots.

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Cinesite's Battle Ready VFX

Televisual

14 Mar 2011

Sony/Columbia’s new Jonathan Liebesman directed disaster movie Battle: Los Angeles centres on a series of striking visual effects from Cinesite. The VFX giant created many of the film’s intricately detailed battle sequences as well as the Commander Alien character.

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The Chronicles of Narnia: Voyage of the Dawn Treader

Sea Quest

Cinefex

21 Dec 2010

The Dawn Treader arrives at its first port of call, Lone Island, which consisted of Australian plate photography enhanced with digital matte paintings and environment work supplied by Cinesite and the production’s in-house visual effects team. The crew disembarks at the quayside, constructed as a partial set in Brisbane, which Cinesite matte painter Sevendalino Khay enhanced with CG set extensions.

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Animating Narnia's Evil Green Mist

Studio Daily

One of the magical elements of the latest Narnia film, The Voyage of the Dawn Treader, is a menacing green mist that preys on characters' vulnerabilities and takes advantage of their weaknesses and desires. As one character puts it, “It seeks to corrupt all goodness – to steal the light from this world.” It fell to Cinesite to figure out how to do justice to that idea, combining realistic simulations of the mist with subtle performance-animation aspects that would bring the smoky tentacles to life.

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Harry Potter and the Deathly Hallows: Part 1

Harry Potter & the Deathly Hallows

FX Guide

9 Dec 2010

Lord Voldemort’s snake-like nose was one of Cinesite’s key effects on Deathly Hallows: Part 1, replacing the real nose of actor Ralph Fiennes in 46 shots. On set Fiennes played the scene with 16 tracking markers applied via a mould. “It was a latex mask that had holes cut in it and they would put the markers though that so that they were always in the same place,” explained Cinesite 2D supervisor Andy Robinson. “That enabled the trackers to line up the head a lot better.” HDRs of the scene were also captured and a texture shoot of Fiennes' head gave Cinesite polarised and unpolarised images to derive both bump and spec passes for the face.

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Cinesite Effects: Lord Voldemort and More

Post

Cinesite completed 93 shots for Harry Potter and the Deathly Hallows: Part 1, including Lord Voldemort’s snake-like nose, the ghost of Dumbledore and a Patronus doe. The most challenging involved replacing Ralph Fiennes' nose area with Lord Voldemort’s CG snake-like snout, which extended from between the eyebrows to the upper lip using Maya, RenderMan, PFTrack, 3de and Nuke.

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Marmaduke

Gone to the Dogs

Televisual

1 Aug 2010

Following its CG work on Beverly Hills Chihuahua and Underdog, Cinesite is back making dogs talk for Marmaduke, completing 650 VFX shots giving 10 live-action dogs the power of speech.

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Marmaduke: A Hybrid Breed Apart

AWN

7 Jul 2010

Fox’s big-screen adaptation of Marmaduke (based on the long-running comic strip) goes further in its hybrid animation approach than Beverly Hills Chihuahua or other canine movies.

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Marmaduke Gets Chatty Thanks to Cinesite

Post Magazine

Cinesite served as one of the lead visual effects houses on the 20th Century Fox feature Marmaduke, which opened in theatres last month. The live-action film is based on the comic strip and centres around a Great Dane, voiced by Owen Wilson, and the animal friends he makes when his family moves to a new city.

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Prince of Persia: The Sands of Time

Prince of Persia: City Building

Digital Media World

1 Aug 2010

Sue Rowe, Visual Effects Supervisor for Cinesite, was on set throughout the shoot in Morocco and later at Pinewood Studios, collecting data for her team and preparing how they would handle the tasks they had been awarded, comprising 280 shots. The shoot ran from the end of August and into December. “Although the art department had provided quite adequate sets in many cases Director Mike Newell and Producer Jerry Bruckheimer came back from reviewing the footage wanting the whole production to be more, bigger and better. Can we add a couple of hundred buildings? Have a grander palace? Can that camera’s helicopter move swing even wider?” said Sue.

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Dirty Sets, Nasty Weapons

Computer Graphics World

1 Jun 2010

As Dastan and Tamina journey through sixth-century Persia on their mission to save the Sands of Time, they travel through two cities, which house several action sequences.

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Clash of the Titans

"There is No Limit to Special Effects"

Image Animation

Simon Stanley-Clamp on creating fearsome beasts for the re-make of Clash of The Titans.

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Clash of the Titans

3D Artist, Issue 15, Spring 2010

Duncan Evans travels to darkest Soho to talk about Cinesite’s work on big-budget Hollywood film Clash of The Titans

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Editing & Postproduction: Challenges Presented, Lessons Learned

Shoot

What was the biggest creative challenge you faced on Clash of the Titans? And what noteworthy surprise or surprises arose (a lesson learned or an unexpected discovery) during the course of the project?

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