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Nov 16, 2016 · It was a sequence dubbed the ‘Magical Mystery Tour’ by the filmmakers, and in this vfxblog article we look at how specific pieces of the incredible imagery were produced, thanks to overall vfx supervisor Stephane Ceretti, The Third Floor previs and postvis supe Faraz Hameed and Method Studios vfx supervisor Olivier Dumont.
Apr 5, 2012 · This naturally extended to the VFX provided by Method Studios, with the work being divided between the London and LA facilities, under the supervision of Olivier Dumont. The onset VFX supervisor, meanwhile, was Nick Davis. The main sequence for Method in LA involved the awakening of the monstrous Kronos, father of Zeus (played by Liam Neeson).
FORD V FERRARI: Olivier Dumont – Overall VFX Supervisor – Method... Vincent Frei - 21/11/2019 0 In 2017, Olivier Dumont explained the work of Method Studios on KING ARTHUR - LEGEND OF THE SWORD.
Aug 18, 2023 · Olivier Dumont will serve as President of Hasbro Entertainment, with Zev Foreman and Gabriel Marano serving as Head of Film and Head of Television, respectively. Foreman and Marano were primarily focused on Hasbro IP projects while at eOne and will continue this work in their new expanded roles directly for Hasbro.
May 27, 2022 · He worked on the iconic 40-second travel through the multiverse, which even included Doctor Strange and America Chavez turning into paint. Wajsbrot started working on the moment back in September of 2020. As such, he worked on the sequence for almost an entire year and a half before it released in theaters. Fellow VFX artists Olivier Dumont and ...
Doctor Strange in the Multiverse of Madness: Olivier Dumont (VFX Supervisor)... Vincent Frei - 27/06/2022 0 Back in 2019, Olivier Dumont had explained to us the work of visual effects on Ford v Ferrari.
To achieve the historical accuracy and photorealism desired by Director James Mangold, Production VFX Supervisor Olivier Dumont drew from extensive reference materials from the time period in guiding the feature’s visual effects and had VFX shots filmed practically to capture the real-world lighting.
