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January 2005 |
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(outside U.S. - add $5.00 each for postage) |
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Cinefex
marks the occasion of its 100th issue with a probing 'roundtable' discussion
of the past, present and future of visual effects by more than 50 of the
industry's leading effects practitioners. Filled with insightful observations
from those who have been in the trenches, pushing effects technology to
new and dazzling heights over the years, the article also offers color
reproductions of every Cinefex cover to date.
Edited
by Jody Duncan |
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For his
adaption of the award-winning children's book by Chris Van Allsburg,
about a young boy who embarks on a journey to the North Pole on a phantom
locomotive, director Robert Zemeckis pulls out all the stops in The
Polar Express. Entirely computer generated, the film relies on new
and innovative techniques in performance capture and rendering to retain
the charm and artistic vision of Van Allsburg's classic tale. Spearheading
the effort were Oscar-winning visual effects veteran Ken
Ralston and supervisor Jerome
Chen, working with a team at Sony
Pictures Imageworks.
Article by Joe Fordham |
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Trouble
looms around every corner for the Baudelaire orphans in Lemony Snicket's
A Series of Unfortunate Events, directed by Brad Silberling and
based on the first three installments in the immensely popular children's
book series. Industrial
Light & Magic led the visual effects effort, providing some
500 shots for the production that ranged from digital matte paintings
and models of the Baudelaire mansion to a CG version of the youngest
Baudelaire, baby Sunny. Makeups for Jim Carrey as the evil Count Olaf,
whose schemes to claim the orphans' inheritance entail an elaborate
series of disguises, were designed and implemented by Bill Corso.
Article by Jody Duncan |
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