Don’t know why, but this surprised me a little.
I was chatting with Ron (Thornton) the other day and he made a passing comment. I did a quick google and sure enough.
http://www.youtube.com/watch?v=AA875IPnrEA&feature=related
http://www.redearthvfx.com/
I’d always just assumed he wasn’t still working in the business, and just dabbled occasionally. Guess the late great Benny Hill was right. Never assume as it makes an ASS out of U and ME.
Got me thinking about VFX though – there’s a lot more to it than big set pieces involving model robots or ships. Some of those composit shots, expecially the street and daytime rooftop ones (use the slider on the second link – there’s a few examples, scroll down the screen and back up for a different one) are really quite subtle and must save a production an absolute fortune on the location budgets.
Something like Forest Gump, for me, has always been a good example of how FX should be added to a movie.
I was chatting with Ron (Thornton) the other day and he made a passing comment. I did a quick google and sure enough.
http://www.youtube.com/watch?v=AA875IPnrEA&feature=related
http://www.redearthvfx.com/
I’d always just assumed he wasn’t still working in the business, and just dabbled occasionally. Guess the late great Benny Hill was right. Never assume as it makes an ASS out of U and ME.
Got me thinking about VFX though – there’s a lot more to it than big set pieces involving model robots or ships. Some of those composit shots, expecially the street and daytime rooftop ones (use the slider on the second link – there’s a few examples, scroll down the screen and back up for a different one) are really quite subtle and must save a production an absolute fortune on the location budgets.
Something like Forest Gump, for me, has always been a good example of how FX should be added to a movie.
