Cinematographer and Technical Director Christopher Webb has been shooting design-driven work drawing from multiple disciplines for over a decade. Together with founding partner, Graceann Dorse, Chris has built a studio to focus on this work full time. FX WRX specializes in cinematographic effects magic that derives from in-camera shooting. Their work has garnered multiple Promax Broadcast Design Global Excellence Awards and an Emmy.
There seems to be a disconnect between what we see as art and what we actually watch. Is it a coincidence that Marvel’s films get billions in revenue, while award-winning indie dramas barely break even? Revenue is no indication of quality, but it does indicate overall appeal. Perhaps a more important question is: Do they need to be mutually exclusive? Ryan Connolly doesn’t think so.
For a guy who lives in the world of computer-generated images, Flame Artist Urs Furrer has a serious obsession with reality. “I’m always trying to find ways of doing things for real, if possible,” Urs told us. “And the reason for that is when things are real, they’re always a little bit imperfect...” This appreciation
More than mere flourishes or eye candy, visual effects have become an essential part of our moviegoing histories. The space battles in Star Wars. Bullet time in The Matrix. These weren’t just milestones for the industry; they were unforgettable moments in our lives. There’s a reason we call these effects special. Over the years and as the cost of pulling them
Rogue Films’ latest commercial for Virgin Fibre, “Delivering Awesome,” is a breakneck joyride through a fiber optic cable, featuring a mash-up of every character and character type you can imagine. Cowboys. Superheroes. Dandies. Dames. Rather than relying entirely on computer graphics to create this beautiful, surrealistic spot, director Sam Brown did things the old-fashioned way:
At the center of Neighborhood Film Company’s The Cage — the first in our Filmsupply Films series — there is a recurring metaphor of a young man trying to break free of the seemingly malevolent vines that threaten to smother him. A young man fighting against nature. His nature, maybe. Or the nature of the place where he’s from.
Statues are the object metaphor at the heart of Carved in Mayhem. I wanted to draw on the idea that we are all shaped by our surroundings — of which many elements stand beyond the reach of our control — and ultimately create a depiction of being sculpted by fate. Including statues in the film, then,
The democratization of VFX is now in full effect. Where once the creation of high-end visual effects took millions of dollars, hundreds of staff, and access to proprietary equipment, it now requires nothing but a laptop, a few free online tutorials, and a lot of imagination. Case in point: Convolv (a.k.a. Zach Zombek), a one-man