Digital Makeup Shines at VES Awards
The Visual Effects Society has nominated Hemlock Grove as one of its finalists for best visual effects in a television program. It is an achievement to have digital makeup effects (dMFX) nominated for such a prestigious award, and hopefully a trend for the community at large for acceptance of the craft. It is an honor to be part of that crew, and to be nominated by our peers.
Below is a press release about the work, and a link to a video showing some of the many shows in 2014 involving the dMFX, and MFX teams in the united … Continue reading
Drew this in 2011 inspired by an involved process starting with a new client. It’s funny how often this rings true.
Using Motion Vectors as Fluid Forces
I was stuck. The particular scene In front of me required that a character from existing footage be combined with tentacles of my own making, repositioned to come out of water at the edge of screen, combined with a sky matte painting, and fling water off of its body at every flick or tiny movement. Time was as usual, … Continue reading
This entry is part 1 of 4 in the series Lost Concepts
Almost Human Concept Art
Occasionally a sketch can become something else. I have taken to the iPad for illustration, as many have over the past few years. it is convenient, and allows me to do more finished work as well as sketch on-the-fly. Tasked to do some concept illustrations for the series Almost Human, I quickly re-purposed one of my sketches for varying concepts of android design for the (unfortunately) cancelled show. Here are some of them:
This entry is part 1 of 4 in the series VFX_archaeology
Evolution of a Design
Story update: Joe Johnston on Twitter said that he did not do the original drawing that inspired the illustration in the middle of this article (which is a re-creation for research purposes only, and not an official StarWars art piece), and that he only used the cockpit and radar dish as elements. This design I saw might therefore be the work of one of the other artists on Star Wars. It could represent an alternate direction rather than a step in the evolution … Continue reading
This entry is part 7 of 11 in the series AGsketchbook
The Pride of Frankenstein
This gallery contains 10 photos.
This entry is part 2 of 3 in the series Gorilla VFX
Two Simple Tricks For Professional Results.
After Jumanji it was all about gamma blasting to check the black levels, but with the 2002 Spider-Man talk at SIGGRAPH, two new composite analysis methods came to the forefront to improve quality — and almost nobody noticed.
There he was, John Dykstra, at the front of the theater … Continue reading
This entry is part 2 of 11 in the series AGsketchbook
It is easy to fall into a pattern or style of illustration. To break the monotony, or creative block I occasionally like to apply an exercise I learned in Art School. The fact is, with a slight application of imagination, even a scribble can look like a face. Therefore scribble on a page, and find the face. I figured this would work for spacecraft as well.
Harv’s World cartoons ran publicly in 1990.
A panel from the college newspaper, next to some “unknown” comic.
One Year of Content and Cool Directions.
Well folks, it is officially the first anniversary of the AG_Punkwerks blog (Sept. 11 is the actual date, but it went live in October). Thanks for your readership, and continued enthusiasm for the odd collection of things roughly hung from the limbs of a tree named VFX. Old stuff, new stuff, stuff nobody has seen, and stuff to talk about. You know, lots of stuff — eventually.
What are the results? Many ongoing series:
1. Articles covering the VFX War raging between VFX workers/facilities and government kickbacks throughout the world. More to come … Continue reading
In film school 1990. Harv was set to make his college newspaper run at this time. These cameras are a thing of the past now.
Producers and actors, still trying to cope with VFX.
Retro Harv’s World re-drawn for your enjoyment. If you do VFX for a living, you will understand.
The Origins of GIGA-Harv.
This entry is part 4 of 4 in the series The VFX War
The Great Dust Bowl 2
There is little to no rain in California. For the last several years the once verdant fields of this great American state (both in size and productivity) have produced fewer crops as water restrictions expand every year. Los Angeles, is a desert, and has always … Continue reading
A Funny Thing Happened On The Way To VFX.
It all started in 1982 with a sketch in the corner of the Social Studies notebook (I probably was not paying attention anyway). Originally an alien life form, not quite sure from where, but cute. I’d already spent several years drawing Danger Duck and Quacker — obvious Donald Duck rip-offs — but making cartoons seemed to be a direct extent of my obsession with VFX and animation, as well as a great skill … Continue reading
One of the many faces of Harv.
An Accomplished VFX Artist Leaves A Clandestine Legacy
Richard Edlund, a close friend of Laine, kindly contributed this card, drawn by Laine for the Holidays. Thank you, Richard.
People working the visual effects field are often artists in many different disciplines. I am also a cartoonist, having published several strips, and I enjoy funny behind the scenes jokes scribbled by artists under pressure — I honed a lot of my skills perusing the sci-FI cartoons in the editorial pages of Continue reading
This entry is part 1 of 3 in the series Gorilla VFX
The title is not spelled wrong. Guerrillas are crafty, live by the seat of their pants fighters on the front lines. Gorillas are rough, hit-it-with-your-fists solvers of problems. Both of these are distinct VFX mind-sets we embrace. This series explores solutions to problems that are a little unorthodox, but effective. What’s outside the frame … Continue reading
Information and title updated 03/20/2014
A patch from the old Boss Film Days. The 65MM in the title says it all.
I was there at the end.
Richard Edlund’s BOSS film studios (named after his favorite shotgun, but originally BOSS FILM CORPORATION **) was a powerhouse of creativity. It followed in the tradition set by Doug Trumbull’s Entertainment Effects Group, which Edlund purchased to form BOSS when he left Industrial Light and Magic: 65mm image acquisition and compositing. On the heels of the visual effects revival, Edlund and … Continue reading
Kerry O’Quinn’s Penultimate Magazine Online Library.
In several boxes in my garage sit almost every copy of Starlog Magazine up to issue 100. They are in various conditions, some tattered, some torn, all well read. They are an archive library. For those who did not live in Los Angeles, and did not discover the mail order Cinefex (which was actually advertised in Starlog pages), there was Fantastic Films, … Continue reading
This entry is part 3 of 4 in the series The VFX War
Hollywood’s Juvenile Response to Brilliance.
For 2014 the Academy of Motion Picture Arts and Sciences promises in a Variety article to “get the visual effects presentation right this year.” They are in reference to last year’s global debacle of a presentation after The Life of Pi was played offstage as the vfx supervisors were attempting to honor the artists who lost their jobs making the film — and the director who publicly thanked everyone (I mean everyone) on the show except his … Continue reading