Captain America: The First Avenger
Soldier Blue
Article by Joe Fordham
In this spirited adaptation of Marvel Comics' World-War-II-era comic book, chronicling the transformation of a puny, but patriotic, army reject into a turbo-charged warrior tasked with thwarting the Nazis, director Joe Johnston brings to life period settings and retro high-tech gadgetry with the help of visual effects supervisor Christopher Townsend and more than a dozen vendors led by Double Negative, including Lola VFX, Matte World Digital, Luma Pictures, Framestore, Cinesite, Fuel VFX, Method Studios and The Senate VFX. Paul Corbould supervised special effects and David White guided makeup effects.
Cowboys & Aliens
Invasion of the Body Snatchers
Article by Jody Duncan
Director Jon Favreau blends two classic genres to create this clever sci-fi/western hybrid in which Old West gunslingers, ranchers and Indians join forces to battle aliens from another galaxy that have invaded their small town. Favreau teamed with Industrial Light & Magic and Legacy Effects — with an assist from The Embassy, Shade VFX, New Deal Studios, Fuel VFX and Kerner Optical — to create the film's terrifying aliens, alien ships and hardware, while Daniel Sudick oversaw on-set special effects.
Harry Potter and the Deathly Hallows: Part 2
Wizard War
Article by Joe Fordham
For the eighth and final film in the series, based on the best-selling childrens' books by J. K. Rowling, boy wizard Harry Potter makes a final stand against his lifelong nemesis, Lord Voldemort, with the help of his many friends at Hogwarts School of Witchcraft and Wizardry. To depict the epic battle, returning director David Yates re-teamed with special effects supervisor John Richardson, makeup effects supervisor Nick Dudman and visual effects supervisor Tim Burke, assisted by an army of effects artisans that encompassed thirteen visual effects vendors and seven facilities involved in stereoscopic conversion.
This Realm, This England
Article by Jody Duncan
Best known for his sci-fi/disaster films, director Roland Emmerich shuns cinematic pyrotechnics in favor of Elizabethan-era political intrigue and character-driven drama in Anonymous. To capture the film's Shakespearean-era settings, Emmerich relied on extensive use of greenscreens and cutting-edge digital technology, calling upon visual effects supervisors Marc Weigert and Volker Engel of Uncharted Territory — his filmmaking collaborators for more than two decades — to provide the photorealistic computer generated environments.
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