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Creative Inspirations: New Deal Studios, Visual Effects
Illustration by John Hersey

Creative Inspirations: New Deal Studios, Visual Effects

with New Deal Studios

Video: Introduction

(Music playing) Matthew Gratzner: What visual effects were created for was to do something you couldn't do for real, and that's all it comes down to. Shannon Blake Gans: Various miniatures you'll see on our walls and basically, this is what we can keep, things we haven't blown up, that are too big, or have gone back to the studio. Robert Chapin: I mean, there's software and there's tools available nowadays to help you do this, but there is nothing that can compare with taking of bunch of C-4, or whatever these guys rig, to just make them blow up and shoot at high-speed.

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Creative Inspirations: New Deal Studios, Visual Effects
55m 39s Appropriate for all Feb 19, 2010

Viewers: in countries Watching now:

New Deal Studios is where the line between illusion and reality disappears. Come along for a peek behind the magician's curtain at one of Hollywood's top visual effects houses. In this Creative Inspirations documentary, find out how key scenes from Martin Scorsese's film Shutter Island were created, as well as segments of The Dark Knight and Night at the Museum. Using a combination of models, miniatures, computer graphics, and digital effects, New Deal Studios was designed from the ground up to be a place where effects professionals could do their best work, and where filmmakers could have their visions realized.

Subjects:
3D + Animation Video Creative Inspirations Documentaries Visual Effects
Author:
New Deal Studios

Introduction

(Music playing) Matthew Gratzner: What visual effects were created for was to do something you couldn't do for real, and that's all it comes down to. Shannon Blake Gans: Various miniatures you'll see on our walls and basically, this is what we can keep, things we haven't blown up, that are too big, or have gone back to the studio. Robert Chapin: I mean, there's software and there's tools available nowadays to help you do this, but there is nothing that can compare with taking of bunch of C-4, or whatever these guys rig, to just make them blow up and shoot at high-speed.

Ian Hunter: I think the art has to drive the science more. Let's think about what we want to do, and then we'll figure out how we're going to do it. The science follows. Michael Theurer: And then it is actually placed within the set and the camera is animated as it would move to facilitate the shot. Shannon Blake Gans: It's part of building our reputation as artists in the industry. If you want to just kind of do the bare minimum effort, you're not really going to go anywhere, and we have places we want to go.

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