For a limited time, Digistor is including Digital Tutors online training with every commercial 3ds Max or Maya purchased* giving you and your team access to the world's largest online CG training library for free.
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Grass Valley and Corsair Solutions are proud to announce that, as part of a special competitive upgrade promotion, users of Apple's Final Cut Pro, Adobe Premiere, and Avid's Media Composer can now upgrade to EDIUS 6 nonlinear editing software for just...
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The PMW-F3 Super35mm digital cinematography camera from Sony truly represents a breakthrough for independent producers, filmmakers and videographers looking for maximum value in these days of ever-tightening budgets.
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Should cross-platform services like YouTube and Bigpond have an obligation to local content?
Yes
No
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IF FX: Up, Up and Away
[Wed 02/09/2009 04:45:36]
By Rodney Appleyard
Brad Pitt, Angelina Jolie and Quentin Tarantino always create a huge buzz at Cannes when they step on to the red carpet. But this year, they were pushed to the back of the queue by the animators from Pixar.
Pixar boss John Lasseter was shocked to find “the geeks from California” (as he refers to them) soaking up the limelight. They had to rub their eyes in disbelief and pinch themselves when the audience gave them a standing ovation after the screening.
“After all, we were on sacred ground but felt so proud to be part of the first animation to ever launch in 3D at the event,” co-director Bob Peterson says.
Since then, UP has received rave reviews and is expected to follow in the footsteps of Pixar’s catalogue of success stories, such as Cars, Finding Nemo and Toy Story. The three films collectively cost $US244 million to produce and grossed $US774 million at the box office.
UP tells the story of 78-year Carl Fredricksen who has spent his entire life dreaming of exploring the globe and experiencing life to its fullest, but thinks it has passed him by. Until he meets eight-year old “wilderness explorer” Russell who changes his outlook.
One of Pixar’s secrets is that the animators and directors are allowed to completely express themselves. They constantly sit around a table and discuss ideas that they find funny and emotional, instead of trying to second-guess the audience.
Want to read more? Grab a copy of the September #124 issue available at newsstands now.
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INSIDEFILM also includes a special quarterly IF FX section, which turns a spotlight on the special effects industry. It reveals the secrets behind the best work created in Australia, whether it is CGI, physical effects, animatronics, make-up or pyrotechnics. IF FX reports on the latest developments from influential organisations such as the Australian Visual Effects Society Chapter and profiles the most talented technicians from around the world who continue to set new trends.
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