This week on Cinematic Immunity we discuss the world of post production effects with Nuke Compositor, Evan Langley. This is a show where we dig into the nitty gritty of how to work in the business as a compositor, what the responsibilities actually include, and how to keep up with the scale of VFX when a movie can have 1000 names in the post production credit sequence and still come out on schedule by sourcing the work out worldwide.
Picking up where we left off, we dig into the gritty detail of visual effects in the entertainment industry with Visual Effects Director of Photography Mark Weingartner. In this part of the conversation, we talk about the aesthetic of visual effects and how the audience reaction has changed over the years. We discuss the difference between special effects, visual effects and how they have advanced to where they are now. Mark explains the the ACES color correction system in detail and we also talk in depth about his work shooting extensive visual effects for some of Hollywood's biggest movies including his work with a custom designed "plate mobile" and more from the "Batman" trilogy.
On this week's show, we air the first half of our interview with Mark Weingartner, Visual Effects Director of Photography, who came down to the studio and took the time to explain some of the most complex visual effects sequences and talk about his experiences that led him to be one of the leading Visual Effects Supervisors in Hollywood. We talk about how to make "grist for the digital mill" and the distinction between visual effects and practical effects and we discovered that sometimes, talking about guilty movie pleasures can be more fun than talking about the big shows as we loop back around three times to Under Siege!
Its great to be back up and running. Cinematic Immunity back with an episode from the vault. Visual Effects Cinematographer Christopher Lee Warren takes us on a journey through the world of miniatures and visual effects with his experience as a 3rd generation member of a famous Visual Effects family.
Sometimes you find yourself with some fake blood in your mouth and a couple of drinking straws - because that's how you get things done in this business. At least, it is when you're a special effects makeup artist, like this week's Cinematic Immunity guest, David Mendez.
Listen as the multi-talented Mendez brakes down the makeup department for us, with a special focus on special-effects. We talk about the tools of his trade (fake blood and drinking straws are only two of them), the challenges and fun of creating makeup looks for film, his influences, and how Captain Kirk taught him to fight. He also explains how being a U.S. Army Infantryman compares to working on a movie set, and how it has helped his stunt coordinator work.
Here's what it's like to shoot a moving train from a moving helicopter, who wins a budgets-vs.-creative battle in the studio system - or budgets and efficiency vs. safety. The answers to questions like, why are we still waiting to shoot? Why are studios the way they are? What goes into the machinery of studio financing? ...and how Billy knew he had finally made it in the business when no one would sit with him at lunch.
The wait is over! Producer and 3rd-generation movie-maker, Billy Badalato, Jr., stopped by Cinematic Immunity recently to school us on the ins and outs of international and domestic film consulting, the logistics of Navy fighter-jet refueling, and some of the difficulties of using trains, planes and boats in your movie. We discuss what happens when you go to shoot in the middle of nowhere, and how to climb the showbiz ladder from personal assistant to president of a global production and consulting company.
Today on the Cinematic Immunity podcast, we bring you an interview with award-wining cinematographer, David Stump, A.S.C.. Get ready for stories about some of your all-time favorite films! In this episode, we discuss the unforgettable train sequence in Stand By Me, Rambo III's "muscle lighting," Beetlejuice, and Army of Darkness. Plus, we talk about Quantum of Solace and forgetting to steal things, Star Trek: First Contact and Patrick Stuart's eyeball work, and we visit post-apocalyptic Kansas, go for a ride in a certain time-traveling Delorean once more, and Louis loves on David's timely new book, Digital Cinematography: Fundamentals, Tools, Techniques, and Workflows.
Over last thirty-plus years, David Stump has worn many filmmaking hats. He's been a producer, a director, a cinematographer, an author, a visual effects supervisor, an effects cameraman - and he even has an Academy Award for Scientific & Technical Achievement. He's worked on some of the most memorable films from the last three decades, and is generous enough to share his knowledge with the world through his excellent book and insightful articles on filmmaking. Enjoy the interview!
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We'll see you back on Thursday for a preview of our next interview: Producer Billy Badalato, Jr.
This week on Cinematic Immunity, stylish and talented costume designer Karyn Wagner joins us to talk about how she went from being "the best-dressed camera assistant ever" to designing the costumes forThe Green Mile, Friday Night Lights and The Notebook, where she finds the inspiration for her designs, and how a she can make you hate a character without him ever saying a word.
Steven Poster, the President of the International Cinematographers Guild, represents camera workers and film publicists across the United States. Poster was kind enough to sit down with Cinematic Immunity and share his stories about getting started in filmmaking and working on such films as "Blade Runner" (1982) "Close Encounters of the Third Kind" (1977) and "Donnie Darko" (2001). Hear these stories and more now in our interview with Steven Poster, ASC.
Dean returns in Part II. We discuss the challenges of Roger Rabbit not existing on location, to getting some assistance from the Oval Office to solve pesky gravity problems on a certain spaceship set. In-between, we breakdown some select scenes of the greatest Trilogy ever about a time-traveling teen and his friend the "Doc".
Aspiring to be a cinematographer? Ted Hayash joins us here on Cinematic Immunity to talk about how to stage two camera blocking with the changing needs of the director, how to walk on to any set and be as effective as possible and how to make sure that every shot counts. Louis and Ted set the wayback machine 12 years to revisit the first time Louis worked for Ted as an electrician on Monster. With Ted's extensive background in lighting, he brings his knowledge and experience into the modern world of professional film making.