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Elton John and Taron Egerton rocked the Cannes Film Festival on Thursday 16th May by premiering Dexter Fletcher’s glittery bio-musical fantasy ROCKETMAN.

The movie follows the incredible story of Elton John’s early childhood prodigy days, his beginnings and his fame in the 70’s and 80’s. Dexter Fletcher (Eddie the Eagle, Bohemian Rapsody) directed Taron Egerton as Elton John; Jamie Bell as his songwriter partner, Bernie Taupin; Richard Madden as Elton’s manager, John Reid and Bryce Dallas Howard as John’s mother Sheila Eileen.

Cinesite was honoured to be the lead VFX studio on the production. Our Montreal team was supervised by VFX Supervisor Holger Voss, they delivered 233 shots – we look forward to sharing more details about the work  soon.

Following the movie’s premiere at Cannes, Egerton and John could be seen wiping away tears. Both men got big standing ovations from the audience in attendance, especially Egerton. The actor’s work is being positioned as an awards contender, and many believe the film’s musical elements make it a shoo-in for the Golden Globes.

Check out the first reactions from Cannes below…

Paramount Pictures will release “Rocketman” featuring Cinesite VFX in theaters nationwide May 31.

The post Rocketman blasts off at Cannes featuring Cinesite VFX appeared first on Cinesite Studios.

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Cinesite has delivered 264 shots for Marvel Studios’ record-breaking box office smash Avengers: Endgame.

Picking up where Infinity War left off, Endgame is the culmination of 10 years and 22 films in the MCU.  It is the sixth Marvel Studios film worked on by Cinesite, which previously completed 215 shots for Avengers: Infinity War.  Both films were directed by Anthony and Joe Russo, with visual effects supervised by Dan DeLeeuw and produced by Jen Underdahl.  Cinesite also worked closely with associate visual effects supervisor Mårten Larsson.

Endgame begins by exploring the emotional impact of the devastating events of Infinity War, where half of life in the universe was destroyed with a single snap of Thanos’ fingers.  Five years later, the remaining Avengers assemble once more to undo Thanos’ actions and restore order to the universe.

A large portion of Cinesite’s work was based around the Avengers revisiting scenes from previous films as they attempt to retrieve the infinity stones.  Cinesite VFX supervisor Simon Stanley-Clamp says, “Our work referenced three previous Marvel films; Captain America: The First Avenger (2011), Marvel’s The Avengers (2012) and Guardians of the Galaxy (2014), so the aesthetics were an important challenge; we had to match the look and tone of the originals faithfully.”

Cinesite recreated an important sequence from the beginning of Guardians of the Galaxy, set on Morag.  The initial shots, where the Guardians’ M-Ship escape pod lands on the planet surface, were entirely CG, matching shots from the original film.  As Nebula and Rhodey watch Peter Quill (Chris Pratt) singing and dancing, the green screen set piece was extended 100% by adding columns, dripping water and foliage to the environment.  The planet surface is remote and barren yet beautiful, with ruined architectural features seen against a low sunset.  The final shot required extensive input from FX, lighting, animation, texturing and compositing.

Cinesite’s most challenging sequence is set in a battle towards the climax of the film.  Following the destruction of the Avengers base, Hawkeye is pursued by Outriders in underground tunnels as he searches for the Gauntlet in the rubble.  The terrifying creatures, first seen in the epic battles of Black Panther, move in multiple ways: running, climbing, crawling and leaping.  Adding to the animation challenge, they do so on eight limbs.

Choreography of the Outriders was key to making the exciting chase sequence work.  Although Hawkeye is always one step ahead, the Outriders move at a blistering speed.  To make the pace and positioning believable, the creatures zigzag through the tunnels, drifting up the walls almost like skateboarders in their haste to get past each other and move forward in the limited space.

Cinesite’s team also created the iconic sequence where Tony Stark is lost in space with Nebula.  From exterior shots showing the isolation of the ship to blackening Nebula’s eyes, recreating her robotic arm and the exterior space environments with a gaseous nebula visible from the cockpit.

In total, Cinesite’s team numbered around 160, including support, and work took eight months to complete.

Cinesite partner companies TRIXTER and Image Engine have also been working with Marvel Studios.  TRIXTER completed work for Marvel on Captain Marvel, which has grossed over $1.1bn worldwide, making it the first female-led superhero film to pass the billion-dollar mark.  Image Engine recently worked on Spider-Man: Far From Home, the final film in phase 3 of the MCU, due to hit screens on 3rd July.

The post Press: Cinesite Revisits Marvel Classics in Delivering Visual Effects For Avengers: Endgame appeared first on Cinesite Studios.

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We absolutely LOVE bringing this iconic family to the big screen, MGM has released the first teaser trailer for its upcoming animated reboot of The Addams Family. The film is currently in production at Cinesite Vancouver and is based on the famous New Yorker creations of Charles Addams.  The animated action-comedy follows the Addams family whose lives begin to unravel when they face-off against a crafty reality-TV host while also preparing for their extended family to arrive for a major celebration, Addams-style.

The new teaser introduces the idea that some families are more different than others, opening with stick figure drawings typically displayed on the back of a minivan before plunging into the ooky and kooky CG world of the film.

Here’s the official synopsis:

“The Addams Family lives are turned upside down when they realize the town next door is suddenly full of uptight suburbanites led by an over-the-top TV host who is trying to build the perfect world — her way! — and who will stop at nothing to get rid of a freaky family like the Addams. If that’s not bad enough, Wednesday has to go to public school for the first time, and Pugsley has to prepare for a big performance that the extended Addams family from across the globe will be coming to judge. What could possibly go wrong?”

Conrad Vernon (Shrek 2, Monsters vs. Aliens, Madagascar 3: Europe’s Most Wanted) and Greg Tiernan (Thomas & Friends, Day of the Diesels) direct a voice cast led by Golden Globe winner Oscar Isaac (Star Wars: The Last Jedi, Annihilation) as Gomez Addams, with Academy Award winner Charlize Theron (Atomic Blonde, Mad Max: Fury Road) as Morticia Addams, Chloë Grace Moretz (The Miseducation of Cameron Post, If I Stay) as Wednesday Addams, Finn Wolfhard (It, Netflix’s Stranger Things) as Pugsley Addams, Nick Kroll (Big Mouth, Sing) as Uncle Fester, Bette Midler (Hocus Pocus, Beaches) as Grandma, Elsie Fisher (Eighth Grade) as Margaux, and Academy Award winner Allison Janney (I, Tonya) as the family’s arch-nemesis Margaux Needler.

The post New Teaser Trailer for ‘The Addams Family’ appeared first on Cinesite Studios.

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Cinesite is heading to FMX 2019 in Stuttgart Germany to discuss opportunities at its studios. The recruitment teams are looking to fill a number of key technical and craft specialised positions to support the exciting projects currently in production.

The annual FMX conference represents a unique opportunity for candidates to meet the recruiting teams from all our studios and discuss potential career opportunities. The team will be attending the FMX recruitment fair from Tuesday, 30th April to Thursday, 2nd May.  The job fair is held in Eyth-Saal on LEVEL 2.

Cinesite’s recruiters will also be holding interviews in London before FMX on the 25th & 26th April . If you would like to arrange a time to meet with us, please apply via this form. We look forward to meeting you!

  • Visa Restrictions: International applicants welcome

The post London and FMX Roadshow appeared first on Cinesite Studios.

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Cinesite VFX has officially joined ACCESS: VFX a cross-company initiative promoting diversity and inclusion in the VFX industry.

We believe it is important to be part of a community that puts people first and offers creative solutions, inventiveness and dialogues about diversity and tries to change mentalities around the VFX industry.

Cinesite attended its very first meeting with some other VFX members. The group includes world renowned VFX studios, 7 industry institutions and 2 government bodies.

We are looking forward to working with such an amazing team who are taking action and challenging both our creative community and educational establishments. For details of upcoming events and opportunities please visit AccessVFX.org

The post Cinesite joins ACCESS: VFX appeared first on Cinesite Studios.

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Caroline Garrett, Head of VFX in London speaks to Ian Failes about our studio’s inner workings in this exclusive VFX Voice profile. Here’s an extract from Ian’s article…

Garrett has been working in visual effects since 1998, when she started as a junior artist at the Magic Camera Company in Shepperton Film Studios. She later co-founded her own previs studio before coming to Cinesite as CG Manager in producer and executive producer roles, then as Head of Production and now Head of VFX.

This new position essentially sees Garrett running the London office, while also working with Cinesite’s other locations. For that reason, Garrett has an eager eye on the state of the wider effects space.

“VFX has truly become a global industry now and London remains an intrinsic part of that, with many of the best creative talent still drawn to this city,” she says. “Almost every production now has VFX in it, whether invisible like The Revenant or front and center like our work on Avengers: Infinity War.”

The VFX industry has also matured, becoming an integral part of the production process rather than the weird new kid that insists on painting everything green,” adds Garrett. “Also, the increased access to film and series through the on-demand services only helps to drive the need for more content, and as a result we’re seeing tremendous growth in the VFX market across the globe.”

Read the full interview with Caroline at VFX Voice

.

The post Press: Inside Cinesite with new London Head of VFX Caroline Garrett appeared first on Cinesite Studios.

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Visual effects supervisor Matt Johnson discusses his work on Mary Poppins Returns and how his collaboration with Cinesite Montréal was a huge part of making the success of the movie in this Art of VFX interview 

Can you tell us more about your collaboration with their VFX supervisors?
I work very closely with the vendors from all the companies, often with daily cineSyncs. Christian Kaestner from Framestore Montréal, Kyle McCulloch from Framestore London, and Christian Irles from Cinesite Montréal were a huge part of making the success of the movie. Christian often visited me on set to help out whilst we were shooting.

The post Press: Mary Poppins Returns – Matt Johnson discusses his collaboration with Cinesite Montréal appeared first on Cinesite Studios.

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Netflix is “reinventing the way we produce, tell and consume stories, and I believe it will be a great place to push the envelope in terms of visual effects.” Cinesite’s VFX Supervisor Salvador Zalvidea, spoke to VFX Voice about his experience working with the internet entertainment service for Duncan Jone’s MUTE. Read the article here

The post Press: Netflix – A Robust Provider of Upper Tier VFX appeared first on Cinesite Studios.

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In 2018 our artists turned their hands to robbing from the rich and giving to the poor, crafting 276 shots included in the final cut of Robin Hood; the Leonardo Dicaprio-produced action-adventure Lionsgate production, directed by Otto Bathurst and starring Taron Egerton, Jamie Foxx, and Eve Hewson.

Throughout production, as with many projects before, the London team utilised ftrack to enable smooth project management throughout. Cinesite’s Chief Technical Officer Michele Sciolette & Production Gareth Pierce discuss how ftrack allowed the team to keep pace with Otto’s imagination. Read the case study at ftrack.com

The environments created by our team are integral throughout the film, both in setting the scene for key story points, and as backdrops to the adrenaline-filled action sequences – some environments 2.5d, and others were entirely CG.

The post Partner Case Study: ftrack helps Cinesite hit the bull’s-eye with Robin Hood appeared first on Cinesite Studios.

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