Showing posts with label movies. Show all posts
Showing posts with label movies. Show all posts

Thursday, June 23, 2011

Disney/Pixar’s Cars 2 Is Off to the Races

Lightning McQueen takes on 10 global champions in the first-ever World Grand Prix to determine the world’s fastest car.

Who’s the fastest car in the world?  
If you said Lightning McQueen—you’re not alone. As a four-time Piston Cup-winner, number 95 is a real contender. But can the American compete against international champs like Formula Racer Francesco Bernoulli—the favorite according to racing experts… (and Bernoulli himself)? And don’t forget Lewis Hamilton, the young, but incredibly talented yellow and black GTS car; Jeff Gorvette, the classic, all-American GTS master; and Carla Veloso, the tough Brazilian whose record speaks for itself—they have the guts to give the veterans a run for the title of world’s fastest car.
 

All images ©2011 Disney/Pixar.

Indeed, that title is what’s up for grabs in the first ever World Grand Prix—a race created by Sir Miles Axlerod, the infamous oil-baron-turned-environmentalist whose wonder-fuel Allinol will be the sole fuel allowed in the three-country race. Some say the race is merely an exhibition for Axlerod’s clean-burning fuel—but even if it is, the World Grand Prix has drawn the world’s top competitors and is already shaping up to be the race among races. What’s not to like? This race kicks off at night in Tokyo, Japan, cruises through breathtaking Porto Corsa, Italy, with a grand finale through the streets of London.  

For an in-depth look at the CG tools and technologies used to create the film’s cutting-edge computer graphics, see the June issue of Computer Graphics World. Meanwhile, Disney/Pixar gets you off to an early start with the following information, sure to get your engines humming.



THE LINE-UP
•   Lightning McQueen, #95, USA. Four-time Piston Cup-winner and Hudson Hornet protégé says he’s not afraid of international competition.
•   Francesco Bernoulli, #1, Italy. The Formula Racer champion is by far the most popular race car in Europe—if not the world—and has little doubt he’ll take the World Grand Prix, too.  
•   Lewis Hamilton, #2, Great Britain. The young Grand Touring Sports champion is a winner inside and out with unrivaled technical skills and a natural speed ability—but his achievements on the track speak for themselves.
•   Max Schnell, #4, Germany.  The carbon fiber convert has won more races at Motorheimring than any other World Torque Champion League car in history.
•   Miguel Camino, #5, Spain. A veteran of the Running of the Bulldozers, he’s a fierce competitor on the Grand Touring Sport racing circuit, too.
•   Raoul ÇaRoule, #6, France. “World’s Greatest Rally Car”—the first car to ever win nine consecutive rallies will dominate on the dirt sections.
•   Shu Todoroki, #7, Japan. The Le Motor Prototype and champion of the Suzuka Circuit sports a fiery red Ka-Riu dragon that some say might intimidate the competition.
•   Carla Veloso, #8, Brazil. Le Motor Prototype racer with a powerful Brazilian spirit who’s seen success in Europe’s 24-hour endurance racing team.
•   Nigel Gearsley, #9, England. The Aston Martin DB9R racer who’s won nearly every start in the Grand Touring Sports circuit, including a string of podiums at Nurburgring and Le Mans.
•   Rip Clutchgoneski, #10, Republic of New Rearendia. The Cinderella story of the competition just might put his country on the map.
•   Jeff Gorvette, #24, USA.  A master of the Grand Touring Sports circuits, his numerous championships make him a respected competitor—and legitimate threat.



BEHIND THE WHEEL
Orchestrating a race the size and scope of the World Grand Prix isn’t easy. Fortunately, there was a team at Pixar Animation Studios that was up for the task. Director John Lasseter drove the effort, having experienced the Spanish Grand Prix during the “Cars” publicity tour.  The experience opened his eyes to the power of the sport, particularly outside the U.S. Says “Cars” franchise guardian Jay Ward, “What people around the world love is formula style racing—open-wheeled, high horsepower, left-right-turn- Chicane-technical-course-type competition.”

Enter characters like Francesco Bernoulli—a star racecar with a worldwide following. He’s his own number one fan. “Francesco is a fun character,” says producer Denise Ream. “He has a lot of personality and a very high opinion of himself. The interaction between Lightning McQueen and Francesco is fun and entertaining throughout the movie.”

“This guy is so funny,” says Lasseter of Francesco. “He is so full of himself, he’s an open-wheel car and in the car world, an open-wheel car is like those guys who barely button their shirts. He talks about himself in the third person. He’s so much fun. Voicing Francesco Bernoulli is John Turturro and he hit it out of the park. It’s one of the most entertaining characters we’ve ever created.”



Adds Ream, “I really look forward to watching Francesco’s scenes—maybe it’s because I have John Turturro in my mind when I’m watching it, because he is really funny. But I think the character’s going to be incredibly popular.”

Ream had the opportunity to work with a real Formula 1 driver when Lewis Hamilton was tapped for the film.  Hamilton was hands on when it came to designing his “Cars 2” car. “He was very particular about what he wanted,” she says. “His emblem combines the Union Jack and the flag of Grenada—which is on his actual helmet. He wanted the car to be black with yellow pinstriping, and he picked the wheels. We had a great time sending pictures back and forth and sharing notes.”



THE RACE IS ON
The team behind “Cars 2” wanted to get the world’s newest event for racing enthusiasts—the World Grand Prix—just right… even if it meant traveling to some of the greatest race sites and races in the world, hanging out in the pits and riding in a racecar or two.  Lasseter and co-director Brad Lewis took a trip in September 2007. “We flew into Italy,” says Lewis. “We stayed in Modena and went to the Ferrari factory and spent a day or two there. Then John and I drove over to Milan and we went to Monza and saw the Italian Grand Prix.”
But that was just the beginning of what would be several adventures. “John insisted that we do extensive research,” says Ream. “We’ve done quite a few research trips, perhaps more than any other film. We went to the Jim Russell driving school in Sears Point—we took the animation department. That was a lot of fun. I also got to go to the Monaco Grand Prix, which was pretty spectacular.”

Several members of the Pixar team took part in Monaco’s Grand Prix practice and qualifying events. “Monaco is the most famous street grand prix Formula 1 racing track in the world,” says Lewis. “It was important for everybody to experience a high-end Formula 1 race.”
“On the way to Monaco, we stopped in Torino,” says production designer Harley Jessup. “We went to the Fiat track there and they brought out a great collection of cars that that we got to ride in with their driver—going 150 miles per hour. It was really fun.”



When it came time to decide just who would race in the World Grand Prix, filmmakers had a lot to consider. “In order for this to be a true international racing decathlon,” says Lewis, “we knew we wanted the best athletes from all the different racing disciplines. But we couldn’t have a cast of thousands and there are lots of different racing forms. So we decided to take a singular champion from the major racing forms.”

They subsequently created their version of the world’s fastest racecars for the film—NASCAR, Formula 1, Rally racing, Le Mans Prototypes, Grand Touring/GT1, GT2 and Deutsche Tourwagen Masters. For the designs of the racecars, the team considered speed, weight, power output and function to create the right look for each racecar.  

The result?  A race to top all races. “All the gloves are off,” says Ward. “If the best of the best in every type of racing around the world were invited to compete, what would happen?
“It’s a race of champions in all these different classes,” continues Ward. “We thought, ‘how do we level the playing field?’ And we came up with these courses that basically offered a little bit of benefit to each car. There’s an off-road section so the rally car could just fly down the course and the Formula racer would go really slow in the dirt, but then speed back up on the street. Lightning McQueen is great at both.”

But can number 95 top Francesco Bernoulli?  Bernoulli is, after all, the car considered by many to be the fastest car in the world—at least before the World Grand Prix.

And what about Lewis Hamilton, Jeff Gorvette, Carla Veloso and the rest?  In a field of 11 champions, it’s anyone’s guess as to who will finish first. And the filmmakers—well, they’re not talking. “We’ve all got our favorites,” says Lewis.

Directed by John Lasseter, Disney•Pixar’s “Cars 2” hits the track on June 24, and will be presented in Disney Digital 3D™ and IMAX® 3D in select theaters.

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Source : http://www.cgw.com/

Pirates in London

Cinesite re-creates 18th century London in 3D for Pirates of the Caribbean: On Stranger Tides

Cinesite, one of the world’s leading film visual effects houses, has completed more than 300 stereoscopic visual effects shots for Pirates of The Caribbean: On Stranger Tides. For their first full stereo 3D project, Cinesite were tasked with creating large-scale photorealistic 3D environments for a dramatic carriage chase through London.



Directed by Rob Marshall, the fourth installment in the highly successful Disney/Bruckheimer series sees Jack Sparrow (Johnny Depp) and Barbossa (Geoffrey Rush) embark on a quest to find the elusive fountain of youth, only to discover that Blackbeard (Ian McShane) and his daughter (Penelope Cruz) are after it too.

Working closely with overall visual effects supervisor Charles Gibson, Cinesite’s visual effects supervisor Simon Stanley-Clamp spent several weeks on location in Greenwich and at historical buildings Hampton Court Palace and Middle Temple, as well as being on set at Pinewood Studios. The film was shot in native stereo 3D using Red One cameras and Pace 3D camera rigs.



Starting inside St James’ Palace and progressing through three different exterior London environments, the carriage chase sequence was shot against three large bluescreens on location in Greenwich and comprises more than 200 back-to-back shots. Cinesite created complex 3D environments including full CG street builds with detailed period buildings, as well as set and background extensions. Atmospheric smoke, smog and fog were added to create an old London feel, and extras, shot in stereo against a bluescreen, were seamlessly composited to enhance the busy London street.

As well as the challenge of r-ecreating such a large-scale location, Cinesite also faced challenges due to the stereoscopic nature of the film. Head of visual effects technology, Michele Sciolette, led Cinesite’s efforts to build the stereo production pipeline and develop a number of new tools to meet these challenges. These included csStereoColourMatcher, a fully-automated tool designed to compensate for color differences between stereoscopic image pairs. csPhotoMesh was used extensively by Cinesite’s environmental specialists to quickly build CG sets for environmental work.



Other shots Cinesite worked on include creating Barbossa’s peg leg throughout the film by replacing the blue sock Rush wore on set with a digital peg leg. They also created highly detailed CG poison dart frogs in four different colors. In addition to their proprietary tools, Cinesite relied on Nuke, Maya, Houdini and RenderMan.

“We’re very proud of what we’ve achieved on our first full stereo 3D project,” said Antony Hunt, managing director, Cinesite. “The complexities that stereoscopic work introduces combined with the sheer scale of some of the scenes we worked on presented some big challenges. But by drawing on our extensive experience in creating photorealistic CG environments and our expertise in motion analysis and color correction, we were able to create some outstanding 3D visual effects.” 



About Cinesite
With one of the largest and most comprehensive facilities in Europe, Cinesite's visual effects team has the capacity and creativity to produce all manner of effects, both digital and physical, for feature films and broadcast projects of all scales. Their award-winning team of highly talented visual effects artists take filmmakers' ideas and turn them into spectacular cinematic reality.
 
Cinesite is currently working on Harry Potter The Deathly Hallows: Part 2 (Warner Bros.), John Carter of Mars (Disney/Pixar), and X-Men: First Class (Twentieth Century Fox). 

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Source : http://www.cgw.com/

Thursday, May 26, 2011

Priest

5.  Priest
Gross Today:$1,500,000
Gross Total:$20,600,000
Release Date:May 13th, 2011
Starring:Paul Bettany, Karl Urban, Cam Gigandet, Maggie Q, Lily Collins
Genre:Screen Gems (Sony)
Description:
A warrior priest from the last Vampire War now lives in obscurity among the other downtrodden human inhabitants in walled-in dystopian cities ruled by the Church. When his niece is abducted by a murderous pack of vampires, the priest breaks his sacred vows to venture out on an obsessive quest to find her before they turn her into one of them. He is joined on his crusade by his niece’s boyfriend, a trigger-fingered young wasteland sheriff, and a former warrior priestess who possesses otherworldly fighting skills.
 
Article Source: http://top-10-list.org 

Fast Five

4.  Fast Five
Gross Today:$3,200,000
Gross Total:$178,800,000
Release Date:April 29th, 2011
Starring:Vin Diesel, Paul Walker, Jordana Brewster, Tyrese Gibson, Ludacris
Genre:Universal Pictures
Description:
Vin Diesel and Paul Walker lead a reunion of returning all-stars from every chapter of the explosive franchise built on speed in Fast Five. In this installment, former cop Brian O’Conner (Paul Walker) partners with ex-con Dom Toretto (Vin Diesel) on the opposite side of the law. Dwayne Johnson joins returning favorites Jordana Brewster, Ludacris, Tyrese Gibson, Sung Kang, Gal Gadot, Matt Schulze, Tego Calderon and Don Omar for this ultimate high-stakes race.Since Brian and Mia Toretto (Jordana Brewster) broke Dom out of custody, they’ve blown across many borders to elude authorities. Now backed into a corner in Rio de Janeiro, they must pull one last job in order to gain their freedom. As they assemble their elite team of top racers, the unlikely allies know their only shot of getting out for good means confronting the corrupt businessman who wants them dead. But he’s not the only one on their tail.
Hard-nosed federal agent Luke Hobbs (Dwayne Johnson) never misses his target. When he is assigned to track down Dom and Brian, he and his strike team launch an all-out assault to capture them. But as his men tear through Brazil, Hobbs learns he can’t separate the good guys from the bad. Now, he must rely on his instincts to corner his prey… before someone else runs them down first.

Article Source: http://top-10-list.org

Pirates of the Caribbean: On Stranger Tides

1.  Pirates of the Caribbean: On Stranger Tides
Gross Today:$35,000,000
Gross Total:$35,000,000
Release Date:May 20th, 2011
Starring:Johnny Depp, Penélope Cruz, Geoffrey Rush, Ian McShane, Kevin McNally
Genre:Walt Disney Studios/Jerry Bruckheimer Films
Description:
Produced by Jerry Bruckheimer and directed by Rob Marshall, “Pirates of the Caribbean: On Stranger Tides” captures the fun, adventure and humor that ignited the hit franchise—this time in Disney Digital 3D™. Johnny Depp returns to his iconic role of Captain Jack Sparrow in an action-packed adventure. Crossing paths with the enigmatic Angelica (Penelope Cruz), he’s not sure if it’s love—or if she’s a ruthless con artist who’s using him to find the fabled Fountain of Youth. When she forces him aboard the “Queen Anne’s Revenge,” the ship of the legendary pirate Blackbeard (Ian McShane), Jack finds himself on an unexpected adventure in which he doesn’t know whom to fear more: Blackbeard or Angelica, with whom he shares a mysterious past. The international cast includes franchise vets Geoffrey Rush as the vengeful Captain Hector Barbossa and Kevin R. McNally as Captain Jack’s longtime comrade Joshamee Gibbs, plus Sam Claflin as a stalwart missionary and Astrid Berges-Frisbey as a mysterious mermaid.
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Article Source: http://top-10-list.org

Sunday, May 8, 2011

Meet the new kids on the block

Attack the Block
Attack the Block's teenage stars photographed in Soho, London (l-r): Alex Esmail, Franz Drameh, John Boyega, Simon Howard, Leeon Jones. Photograph: Richard Saker for the Observer

I'm surrounded by chanting teenagers. Five of them, eyeballing me and repeating: "Blood, blood, blood." "Cuz, cuz, cuz." "Trust, trust, trust." It's quite unnerving, a bit Lord of the Flies. "Bruv, bruv, bruv." "Oi, oi, oi." "Y'get me? Y'get me? Y'get me?"
They stop, point made. "See?" says one of them. "You see how it can be overplayed?" They are the young stars of Attack the Block, a new sci-fi film directed by Joe Cornish that pits a gang of south London estate kids against gorilla-like aliens that invade their tower block. Cornish's film, out on 11 May, is part monster flick, part study of youth culture and it's very good. Today, sitting around a hotel lounge in central London, the young actors are doing impressions of other recent "hood culture" films, films that have made a pantomime of street patois through overuse, with a "blood" or a "bruv" or a "cuz" inserted into every sentence in a bid for currency. "The colloquial language," says Franz Drameh, mocking the term, "but pushed way too much. You watch these films and think, OK, it's cool, we get it… blood." The other four snicker. Close friends after months together filming last year, they do a lot of snickering.
Attack the Block won the audience award at the SXSW festival in Texas in March, and elsewhere early reviews have been equally positive, largely due to the collective charisma of these five unusual leads, their believability as 15- and 16-year-old London miscreants. If, like me, you've come to dread the depiction of "yooves" on screen (dubious about Noel Clarke's overwrought Kidulthood kids, all those suspiciously Rada-ish hoodlums from episodes of Casualty and The Bill) then Cornish's film should come as a great relief. Its stars give hugely credible performances, drawing on their own lives in inner-city London. Slang is ever-present in the dialogue but never cringeing. And the five don't dress like post-apocalyptic bikers or whatever it is a far-removed costume designer has decided estate kids wear. They dress like estate kids.
The film is set entirely on a walkways-and-corridors estate in Lambeth, south London, and begins with a slow pan over Oval tube station (surely a first: no Woody Allen-ish establishing shots of the Gherkin or the Eye here). The actors were encouraged to veto clothes or phrases they deemed too inauthentic for the setting. They tell a story, overlapping each other: "What was that word they wanted us to use? Leek? Eek? I think it was eek. It was meant to mean a snitch. Someone didn't write it down properly when they researched it." So "eek" was scrubbed from the script, and "leek" too, for good measure.
Franz Drameh, the chattiest and the most polite, is 18 and has acted before (he was in Hereafter with Matt Damon last year). Three others are newcomers, plucked from school workshops and drama groups around London. Leeon Jones is 17, the shyest. Simon Howard, 18, displays a verve to match his great fan of hair, and the most disarming way with his diction ("liked" is "lacked", "mountains" are "mountings"). Alex Esmail, long haired and 17, sits apart a bit and doesn't smile much. Then there's John Boyega, the eldest at 19, the leader of the gang on screen and, from what I can tell, in real life as well. He waits for the others to finish speaking before he does and at one point silences the room completely by referring to Malcolm Gladwell in the middle of a discussion about action figures.
It takes five minutes for the group to settle, at first, after a spell trying to open Coke bottles with their belt buckles. ("Man," says Drameh, "that's stressful.") A scene of near hysteria descends, after they've been talking about a shared love of manga cartoons and computer games, when I float a question: which would they prefer – an Attack the Block computer game being made or Attack the Block manga?
"Woah! Computer game." "Computer game, straight up." "I'm gonna get my computer game." In the excitement, one of them starts to sing in a high falsetto voice.
Attack the Block's director, Joe Cornish, is one half of Adam and Joe, the irreverent comics and spoof experts, hosts of a popular radio show on BBC 6 Music. Cornish's stock in trade is satirical observation, and though Attack the Block is not an outright comedy he uses his good eye and ear to record and film some deliciously plausible reactions by a bunch of careless teens to alien invasion. Running out of credit on a mobile is almost as major a concern as being eaten by a gorilla-like monster. When things get really tough, the boys' instinct is to lock themselves up for a calming session on the Xbox.
"When you watch so-called hood-related stuff," says Howard, "you always know what it's going to be. Gangs beefing gangs. Someone gets robbed, someone gets beaten up. Happy days. Attack the Block is different."
It is different – all those aliens, for a start, and a great sense of genre affection that gives it a fond, reference-sprinkled Shaun of the Dead feel. (Shaun's Nick Frost has a supporting role and Edgar Wright produces, too.) The concept of "inner city versus outer space" came to Cornish when he was mugged, seven years ago. He wondered: what would happen if aliens landed now? His film starts with a mugging, the gang threatening a female neighbour with a knife and taking her jewellery. It happens matter of factly, part of an evening's activity for the boys, and it gives the following story a very unusual flavour. Once aliens invade, the boys become our heroes, but they're quite unrepentant about the earlier crime, and often quite unlikable.
Compare with another alien encounter film. Shortly after the release of ET, Steven Spielberg suggested, sweetly, that the kids he'd portrayed were pretty clued up. His young characters were ready to cope with extraterrestrial confrontation because they'd spent hours watching TV serials and playing Space Invaders. "The years of childhood have been subject to a kind of inflation," said Spielberg, in open wonder that the youth of today – this was 1982 – were so wise and cynical.
Oh, to watch Attack the Block with him. The Block kids do not meet extraterrestrial encounter with a charm offensive, a la ET, offering treats from the chocolate cupboard and a Sesame Street marathon. Instead, they kill the first arrival with a baseball bat because it has shown them disrespect. They do not speak in terms of cooing wonder. Instead: "What is that, cuz?" "That's a alien!" "We crazy kicked that." They drag the corpse away to stash it, in case there's money to be made by selling it.
Cornish makes a particularly close study of the clash between the gang (bored, riled, with confused ideas about territory) and a middle-class nurse, Sam, played by Jodie Whittaker. She is the neighbour they mug in the opening scene and afterwards she reports them to the police. Even when the sci-fi action kicks in, and the group are thrown together as comrades, neither Sam nor the gang is able to forgive the other over the mugging. To the boys, Sam snitching to the police was as bad as pulling out a knife. It's a subplot that gives the film great strength and grounds it in reality even as the surface action (fireworks used as missiles, Super Soakers turned into flamethrowers) gets sillier.
I ask if the boys have ever been involved in a mugging. Friends have, says Howard. "There's a difference between living somewhere," says Boyega, "and being part of somewhere. There's loads going on in Peckham [where he lives] that I'm not involved in because I'm doing my other thing. But I still know the world, what goes down."
Why, in the film, do the boys react so badly when Sam goes to the police? "In a gang lifestyle, snitching is kind of unforgivable," says Drameh. "I don't think it's just the gang lifestyle," says Boyega, "it's a community thing. The 'block' in Attack the Block is not just a physical thing, it's people, it's families. Everyone's living their own kind of life. When the police come round it makes it complicated. Even mothers are like, nah, I won't talk to the police. Not just gangsters. Would your mum," he says to the group, "ever go to the police?"
The others aren't sure. Eventually, Esmail says: "I'm not gonna lie, I've been robbed three times." They burst out laughing. "I'm glad you all find it funny, you bunch of wankers." "You're still alive, man," says Jones in a rare interjection, "it's all good." Howard says: "It happens every day. It's not, like, mean."
Not mean? Do they, then, accept it as a part of life? "I don't accept it at all," says Esmail. "It feels horrible. But the main reason I wouldn't pick up the phone to the police is that, no offence, they don't do much. They'll get you in the car, go look for the robber. But if he's smart no robber is still gonna be there." The gang are still laughing. "Nah, think about it…"
"Top tip," says Jones, and in an American accent Drameh says: "If you're gonna rob someone go home afterwards. That statement was sponsored by Attack the Block." Boyega steers them back. "Being robbed hurts – not physically but from what it does to your pride." "At the same time," says Drameh, "you can't stop bad things from happening. It may not be a good part of life but that's the world." By the end of the film, the boys' characters still haven't really come to terms with Sam's snitching. "It's not like, oh, we're all friends," says Drameh. "Let's slip off into the rainbow." They find this about right.
Chat moves on to lighter subjects. Trainers. BlackBerrys. How the film's slang might go down in America. "They've been feeding us with new language for years," says Boyega, a little irritated. "Slang in The Wire, Pandora language in Avatar, flipping Klingon. What the hell, man? Just take it as it is and enjoy the film." "I watch their films," says Howard, "and I can understand."
It's time to leave them be. As I make my way out they cheerily go back to opening Coke bottles with their belt buckles and doing impressions of fireworks; engaging in the overlapping discussion of excitable teens. "Man, it's hard putting out a film," someone says. "I thought it just went on in cinemas and that was it."
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Article Source: http://www.guardian.co.uk

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