When Robert Rodriguez and Frank Miller’s Sin City opened in 2005, it hit a chord with audiences who latched onto the graphic novel come-to-life style. For the sequel – Sin City: A Dame to Kill For – the directors once again would film live action photography against greenscreen, only this time in stereo, and then orchestrate a mix of black and white, high contrast and coloring to tell their story. Helping to bring that stylized vision to the screen was Prime Focus World, which became an equity partner on the film and sole provider of the visual effects and stereo conversion work. We break down the steps in making A Dame to Kill For possible.
The Board of Governors of the Academy of Motion Picture Arts and Sciences have finally announced the results of their vote Tuesday night (August 26) for the annual honorary Governors Awards. These awards are much sought after and many industry insiders lobby the governors for their favorites. This batch of award-winners is notable for its global diversity: a French writer, a Japanese animator, an African-American activist and an Irish actress.
MPC’s previs supervisor Duane Floch discusses three different POVs and lots of apes used to create the Colony Attack scene in Matt Reeves’ hit sequel.
Ben Murray has worked over 10 years as an Inferno / Flame artist. He then helps Prime Focus World to developed his stereo pipeline and he worked on films such as MEN IN BLACK 3, FRANKENWEENIE or NOAH.