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Which clippings match 'Post Production' keyword pg.1 of 2
11 MARCH 2013

VFX breakdowns for BBC One TV series Ripper Street

"With a final dollop of blood splatter sploshing across the plasma TV, Series One of BBC's visceral police drama Ripper Street came to a crashing finish on Sunday night!

Screen Scene VFX completed all the visual effects work on Ripper Street's first season, and are proud to share this fantastic breakdown/making of video showing you how they weaved their inimitable brand of wizardry to make Dublin look like Victorian London."

(Screen Scene Post Production Facilities, 26 February 2013)



18892013 • Adam Rothenberg • BBC One • BBC series • BBC TV • blood splatter • breakdown • chaotic streets • compositingcostume dramaDublin • Ed Bruce • EdBruceVFX • H Division • Jerome Flynn • Joe Gilgun • London East End • making of • Mathew Macfadyen • police • police drama • post production • Richard Warlow • Ripper Street • scene designscenery • Screen Scene Post Production Facilities • Screen Scene VFX • SFXtelevisionTV seriesVFX • Victorian London • visceralvisual effectsvisual spectacle • Whitechape


Simon Perkins
27 DECEMBER 2012

An interview with the film editor Thelma Schoonmaker

David Poland/The DP/30 channel: posted Thursday 1st December 2011



2011American cinemaart and design practitionerscreative practice • David Poland • DP/30 channel • filmfilm editingfilm editorfilm industryfilmmakingfilmmaking process • Hugo (2011) • interviews with designersMartin ScorseseMichael Powellpost productionpractitioner interview • Shutter Island (2010) • storytellingtextual reference • the other side of the camera • Thelma Schoonmaker • women in filmwomen in the film industry


Simon Perkins
25 NOVEMBER 2012

The Hobbit: behind-the-scenes, Peter Jackson presents Video #9

Video #9 Published on YouTube 23 Nov 2012 by Peter Jackson (WingNut Films), Film premiere: 28 November 2012 (Wellington, New Zealand) Release Date: 13 December 2012 (UK)



2012 • 48 fps • Abbey Road Studios • Alan Lee • Andrew Lesnie • animationAotearoa New Zealandbehind-the-scenes • Bilbo Baggins • Brent Burge • CGI • Chris Tomlinson • Chris Ward • Chris White • Christian Rivers • Christopher Boyes • colour grading • Dave Farmer • Dave Hollingsworth • Dave Whitehead • David Clayton • digital intermediate • Embassy Theatre • Eric Saindon • feature filmfilmmaking process • foley • HFR • High Frame Rate • Holly Acton • Jabez Olssen • Jed Brophy • Jerry Kung • John Howe • John Simpson • Karen Elliott • Kevin Sherwood • Lonely Mountain • making of • Marion Davey • Michael Semanick • motion capture • New Line Cinema • Park Road Post • Peter Cobbin • Peter Jacksonpost productionpre-visualisation • Raqi Sayed • SFXsound stage • The Hobbit • UKVFXWarner BrosWellingtonWeta Digital • Weta Workshops • WingNut Films


Simon Perkins
17 MAY 2011

Keeping Britain's special effects dream alive

"The country's reputation as the go–to Hollywood alternative was underlined at this year's Academy Awards when London–based Double Negative picked up the visual effects Oscar for its work on Inception.

The company, which has also been involved in the Harry Potter and Batman series, employs around 950 people at its headquarters in Soho.

Across the UK, approximately 5,000 people work in SFX post–production, according to the UK Screen Association.

But while business is currently booming, there are dark, computer–generated, clouds on the horizon.

A report, commissioned by the government and published earlier this year, delivered a worrying prognosis.

It warned that, while special effects was enjoying a rapid growth, the sector was also 'having to source talent from overseas because of skills shortages at home'.

The study, entitled Next Gen, concluded: 'That is mainly a failing of our education system – from schools to universities and it needs to be tackled urgently if we are to remain globally competitive.'

Part of the problem is the lack of awareness of the profession among young people, according to Paul Franklin, a visual effects supervisor and part of Double Negative's Oscar–winning team.

'There is not a huge amount of information available to them,' he told BBC News.

'Typically you tend to find that students who are seeking out courses in visual effects and film–making are the self motivated types who have gone out and found the information themselves.'

'It is something we work very hard at, but schools and colleges could be more aware about how a creative art education can be applied in the world of high–end modern digital media,' he said."

(BBC News, 14 May 2011)



Academy Award • accolade • American Academy of Motion Picture Arts and Sciences • AMPAS • Batmancomputer-generated • creative art education • creative careercreative economydesign curriculadesign disciplinedesign professiondigital mediaDouble Negativeeducation systemfilmmaking • globally competitive • Harry PotterHollywoodInception (2010) • lack of awareness • LondonNext Gen. reportOscar • Paul Franklin • post productionprofessional practiceSFXskills shortageSohospecial effectsstudentUK • UK Screen Association • VFX industriesvisual effects • visual effects supervisor


Simon Perkins
30 APRIL 2011

Annie Collins on her 30 year career cutting New Zealand films

"Editor Annie Collins has worked with some of New Zealand's most provocative directors, including Barry Barclay (The Neglected Miracle), and Merata Mita (Patu!) over a 30 year editing career. Collins has also edited key feature films, (Scarfies, Out of the Blue) and was part of the editing team on Peter Jackson's Lord of the Rings.

NZ On Screen's Clare O'Leary visits Collins at her home and Collins reflects on:

Her beginnings in the industry and being convinced by producer Pat Cox to shelve her design training and become an editor.

What she requires of directors ('that they've done their homework!')

Cutting Patu! with Merata Mita: evading the police and becoming conscious of the Springbok Tour Protests' relevance to New Zealand history and realising the (different) echoes it had for Mita as a Māori filmmaker.

Working with director Robert Sarkies on Scarfies and Out of the Blue

The four and a half years she spent working on the Lord of the Rings trilogy and the realisation that despite the 'profound experience' of working on such a massive scale project that she needed to get back to New Zealand stories.

Her consciousness of the power of the edit: 'it takes about five seconds for you to destroy somebody in a cut, or edit, on national TV.'

The ethics of story–telling: the need for the people who are involved in a documentary (or a story where the subjects are still alive) to follow 'good process' and the importance of 'clarity of mind and heart.'"

(Clare O'Leary, 12 February 2009, NZ On Screen)

Fig.1 direction and Interview – Clare O'Leary, camera and editing – Leo Guerchmann



1981 Springbok rugby tourAnnie CollinsAotearoa New ZealandAramoana • Barry Barclay • creative practicedesign trainingdocumentaryethics • film directors • film editorfilm industryfilmmaking • Graeme Tuckets • historyLord of the RingsMaoriMerata MitaNew Zealand cinemaNew Zealand filmmaker • New Zealand history • New Zealand on Screen • New Zealand stories • NZ On Screen • Out of the Blue • Pat Cox • Patu!Peter Jacksonpost productionRobert Sarkies • Ruby & Rata • Scarfies • Springbok Tour • storytelling • Ted Coubray • The Neglected Miracle • women in film


Simon Perkins

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