LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

LOOK Effects Takes Wing in Noah

COW Library : Art of the Edit : LOOK Effects : LOOK Effects Takes Wing in Noah
CreativeCOW presents LOOK Effects Takes Wing in Noah -- Art of the Edit Editorial


Inside the Ark of Noah


Academy Award-winner Russell Crowe stars as Noah in the film inspired by the epic story of courage, sacrifice and hope, directed by visionary filmmaker Aronofsky. Jennifer Connelly, Ray Winstone, Emma Watson, Anthony Hopkins and Logan Lerman also star.

Building upon a relationship with Mr. Aronofsky that was forged on his earlier films (Black Swan, The Wrestler, The Fountain), LOOK came aboard in pre-production to work with lead visual effects provider ILM to help bring the film to the big screen.

Tasked with delivering the Earth's birds to the ark, the team at LOOK developed proprietary feather and flocking systems in its New York facility, delivering work that contained up to two million birds within a single shot.


The team at LOOK developed proprietary feather and flocking systems in its New York facility, delivering work that contained up to two million birds in a single shot.

In addition to its avian work, LOOK also helped create the look of the world before the flood, bringing light to mankind's destruction of the environment through a series of matte paintings and set extensions.





All told, LOOK completed 300 shots for the film over a period of 18 months. "As a company, we really tried to push the envelope on this show in terms of the type and scale of work we were doing," explains Dan Schrecker, LOOK's visual effects supervisor on the project and long-time Aronofsky collaborator. "The work we did on the birds, including the feather and flocking systems, as well as the animation and rendering, was some of the most advanced work we have ever done. Working with a visionary director like Darren is always an adventure, but one in which the ultimate reward is proportional to the challenge involved in the process. That was certainly the case on this film and all of us at LOOK are extremely proud to have been part of it."



For over 16 years, LOOK Effects has been a leading provider of digital-effects solutions for feature film, episodic television and special venue projects.






With operations in Los Angeles, New York, Vancouver and Stuttgart, Germany, LOOK offers a knowledgeable and resourceful approach in partnering with their clients to supervise and produce visual effects. In all four locations, LOOK provides ideas and options for digital effects design, on-set supervision, set-extension creation, 3D animation and complex compositing. This combined experience and expertise has earned LOOK a high level of trust and an impressive list of clients and credits.

LOOK's effects for Darren Aronofsky's Black Swan were nominated for both VES and BAFTA awards for visual effects. Their other film credits include: The Grand Budapest Hotel, Sabotage, Draft Day, Warm Bodies, Life of Pi, Moonrise Kingdom, Alex Cross, The Muppets, Underworld Awakening, Captain America, Limitless, and The King's Speech. Television credits include: "Bones," "Game of Thrones," "Nashville," "Castle," "The Finder," the Emmy-nominated effects for "Life After People" and all of the VES-nominated effects for the final season of "Lost." See more of LOOK Effects' work at http://www.lookfx.com.


A Distinctive LOOK For 'The Grand Budapest Hotel'

A Distinctive LOOK For 'The Grand Budapest Hotel'

In his third time working with Wes Anderson, LOOK Effects VFX Supervisor Gabriel Sanchez helped implement the director's singular vision on The Grand Budapest Hotel.


Zombies Brought to Life For Warm Bodies

Zombies Brought to Life For Warm Bodies

VFX company LOOK Effects ramped up a studio in Vancouver and created a new pipeline for character animation, to produce 85 shots of the Boneys - the most decayed, menacing zombies - in Warm Bodies, the zom-rom-com based on the book of the same name. In addition to character animation, the company created a CG fly-through of a wasted city, blending with live action plates at each end of the sequence.




Thirteen VFX Houses contribute to Marvel's Captain America: The First Avenger"
Join Debra Kaufman as she goes behind the lens in the latest installment of our film VFX series, as Captain America: The First Avenger is brought from the realm of comic book imagination and 2D art, to the 3D world with stunning visual effects. Get the inside story of how thirteen VFX houses, including LOOK Effects, contributed to this new Marvel super-hero franchise as they share their stories with us.




Related Articles / Tutorials:
Art of the Edit
Editing The Emmy Award-Winning Phenomenon, Wild Wild Country

Editing The Emmy Award-Winning Phenomenon, Wild Wild Country

Wild Wild Country premiered at the 2018 Sundance Film Festival to great acclaim, and when it hit Netflix a few months later, it quickly became a phenomenon, going on to win the Emmy for Outstanding Documentary of Nonfiction Series and netting editor Neil Meiklejohn an Emmy nomination for Outstanding Picture Editing for Nonfiction Programming. Creative COW's Matt Latham spoke with Neil about managing a project of this scope, treating the eight parts as a single film rather than episodes, his use of Adobe Premiere Pro, workflows with visual effects and music, and much more, including career advice for aspiring editors.

Feature, People / Interview
Matt Latham
Art of the Edit
What It Takes to Edit Big TV Shows: This Guy Edits

What It Takes to Edit Big TV Shows: This Guy Edits

Sven Pape of "This Guy Edits" joins TV editor Josh Beal (House of Cards, Bloodline) for a close-up look at editing Season 2 of Counterpart, the Starz series starring JK Simmons in a dual role -- which is only the start of the challenges presented by this high-energy sci-fi thriller. Josh dives deep into storytelling techniques, workflow, teamwork, organization, and even offers some insights for people wondering how to get started as TV editors themselves.

Tutorial
Sven Pape
Art of the Edit
Writer-Director Vidhya Iyer: Parents, Children, & Brown Love

Writer-Director Vidhya Iyer: Parents, Children, & Brown Love

Writer-director Vidhya Iyer is an Indian-Nigerian-American filmmaker, improv comic, AFI graduate, and CAPE (Coalition of Asian Pacifics in Entertainment) New Writers Fellow. Work on award-winning shorts has led to a comedy pilot called "PG 30" about authenticity, adult children learning to become honest with their parents, and the unique "brown love" between immigrant parents and their children. Creative COW Contributing Editor Clarence Deng explores all this and more, including the empowering community that grows up among filmmakers who are helping each other tell their truest stories.

Feature, People / Interview
Clarence Deng
Art of the Edit
The Top 5 Most Common Problems with Student Films

The Top 5 Most Common Problems with Student Films

What are the biggest mistakes of most student films? This "Science of Editing" episode may just have the answer. Join "This Guy Edits" Sven Pape and Macquarie University lecturer Dr. Karen Pearlman, author of "Cutting Rhythms: Intuitive Film Editing" and former President of the Australian Screen Editors Guild for a look at specific things to avoid to make your films your best.

Tutorial
Sven Pape
Art of the Edit
Editing Marvel's Black Panther: Debbie Berman ACE

Editing Marvel's Black Panther: Debbie Berman ACE

This is an epic tale spanning two decades, three countries, 12,000 miles -- and that's just the story of Debbie Berman, ACE, starting in reality TV and indie film in South Africa, making her way to Canada and then the US to edit Marvel's Spider-man: Homecoming and, most recently, Black Panther, already one of the most popular films of all time. In this exclusive interview with Creative COW Managing Editor Kylee Peña, Debbie talks about struggling toward US citizenship, a serendipitous meeting with an ambitious young director, helping to bring representation to the big screen and pride to her home country.

People / Interview
Kylee Peña
Art of the Edit
What Picasso Can Teach Us About Filmmaking

What Picasso Can Teach Us About Filmmaking

Feature film editor Sven Pape takes a unique, entertaining look at Pablo Picasso's approach to art, and offers specific examples from a variety of movies, as well as Picasso's own advice. As Sven puts it, success requires action. Make a film. Fail. Then fail harder. Of course, Picasso and Sven have great advice for succeeding too! You'll get a kick out of this one.

Tutorial, Feature
Sven Pape
Art of the Edit
Searching: Creating Cinematic Drama From Small Screen Trauma

Searching: Creating Cinematic Drama From Small Screen Trauma

The thriller "Searching" takes place on computer screens, but no screen captures were made. Instead, the team built the individual elements in Adobe Illustrator, animated in Adobe After Effects, and edited those elements together with live action footage in Adobe Premiere Pro. Creative COW Managing Editor Kylee Peña spoke to editors Nick Johnson and Will Merrick about the extraordinary lengths they went to to create this exceptionally compelling big screen drama from the family crisis being played out on small screens before us.


Kylee Peña
Art of the Edit
Cate Haight ACE on Editing The Sundance Hit Indie, Puzzle

Cate Haight ACE on Editing The Sundance Hit Indie, Puzzle

Cate Haight, ACE, has edited some of the most memorable films and television shows in the last few years. Her latest indie feature Puzzle -- which tells the story of a suburban mom who discovers a passion for competitive jigsaw puzzling -- debuted at Sundance Film Festival this year. Creative COW Contributing Editor Alee Caldwell sat down with Cate to talk about going to the fest, advocating for change, and putting together the pieces of Puzzle.

People / Interview
Alee Caldwell
Art of the Edit
Always Be Editing: Sculptors & Bricklayers Revisited

Always Be Editing: Sculptors & Bricklayers Revisited

Do you edit like a sculptor, or like a bricklayer? It seems a simple enough question, but as longtime editor, post house owner, and VFX software developer Simon Ubsdell shows, the implications for how this affects the way you edit can be profound. His advice, regardless of where you land on the spectrum? Always be editing.


Simon Ubsdell
Art of the Edit
TV Workflow Supervisor Kylee Peña: The Benefits of Pressure

TV Workflow Supervisor Kylee Peña: The Benefits of Pressure

TV workflow supervisor Kylee Peña (Jane the Virgin, Colony) visits Adobe's "Make It" talk show to chat with host Jason Levine about the evolution of motion picture workflows, from the days of film and tape to our modern digital world of crazy-high shooting ratios and constantly evolving technology. She also expounds on the upside to creative constraints and tight deadlines. And don’t miss the lightning round!!!

Feature, People / Interview
Cow News
MORE
© 2018 CreativeCOW.net All Rights Reserved
[TOP]