What was the work done by Sony Pictures Imageworks? He wasn’t precious about his ideas if a better one came along, he’s got a pretty pragmatic approach to ultimately make Chris happy. He really treated all the VFX facilities as one big team. He’s got a great eye and a very technical background in CG. How was this collaboration with Production VFX Supervisor Matthew Butler? The cut was very fluid due to finding the right comedic timing which was a challenge to keep up with on our end, certainly kept us on our toes. He of course was concerned that the VFX looked great but the actors and the comedic timing was the most important thing… if the VFX were great but overshadowed the actors or comedy then we’d have to scale back. On set his focus is really about the actors. What was his approach about the visual effects?Ĭhris, like most directors I’ve worked with, is really focused on the story, and in this case the comedy as well. Matthew was very inclusive of my input and helped to facilitate my direct communication with Chris which was really great. He was always very complimentary and seemed to embrace new ideas coming from the VFX teams. During those reviews I was able to present our work directly to Chris and hear his direct feedback. Whenever we had shots to review I would travel 15min to Digital Domain, along with our VFX Producer Christian Hejnal, to present our work to Chris and Matthew. They had a great system where 2K media could be streamed directly from Playa to Chris for daily reviews. Chris worked out of his office in San Francisco and Matthew and the rest of the VFX production team were based at DD in Playa Del Rey. During post production I had a lot more interactions with Chris during our daily shots reviews. He seemed to really trust in Matthew’s advice and suggestions to make the most of the VFX work. On set Chris mostly interacted with Matthew for VFX. How was the collaboration with director Chris Columbus? Soon after that we were awarded a good portion of the project. It was clear we had many of the same sensibilities and questions and quickly started riffing off each others theories. Matt and I had a really good first meeting where I learned some of the creative goals and we discussed many of the challenges, unknowns, and the types of tests we’d want to try to realize these characters. I was really interested in the film, I found the short really charming and had spent my youth in the local arcade. Sony Pictures asked us to bid on the work and meet with Matthew Butler, the production side VFX Supervisor, and Denise Davis, the VFX Producer. How did you and Sony Pictures Imageworks got involved on this show? This time, he explains in detail about his work on PIXELS. Last year, Daniel Kramer talked to us about the work of Sony Pictures Imageworks on EDGE OF TOMORROW.
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