DOCSLIB.ORG

“TONY” MEAGHER Visual Effects Producer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“TONY” MEAGHER Visual Effects Producer MICHAEL “TONY” MEAGHER Visual Effects Producer Feature/TV Projects Director Studio/Production FREELANCE/PRODUCTION “ALTERED CARBON” MIGUEL SAPOCHNIK NETFLIX SKYDANCE PRODUCTIONS “POINT BREAK” ERICSON CORE WARNER BROTHERS VFX Producer – post (12 Mos.) ALCON ENTERTAINMENT “DOLPHIN TALE 2” CHARLES MARTIN SMITH WARNER BROTHERS ALCON ENTERTAINMENT “PRISONERS” DENIS VILLENEUVE WARNER BROTHERS VFX Producer/Depart Head – post ALCON ENTERTAINMENT “BEAUTIFUL CREATURES” RICHARD LAGRAVENESE WARNER BROTHERS ALCON ENTERTAINMENT “PAULIE” JOHN ROBERTS DREAMWORKS VFX Producer “VOLCANO” MICK JACKSON TWENTIETH CENTURY FOX VFX Producer * *shared VENDOR/FACILITY “HUGO” MARTIN SCORSESE PARAMOUNT PICTURES Visual Effects And Digital Environments (Uncharted Territory) “BATTLE LOS ANGELES” JONATHAN LIEBESMAN COLUMBIA PICTURES VFX Executive Producer (Hydraulx) Lead Vendor “TAKE SHELTER” JEFF NICHOLS SONY PICTURES CLASSICS VFX Executive Producer (Hydraulx) Lead Vendor “GULLIVER’S TRAVELS” ROB LETTERMAN TWENTIETH CENTURY FOX VFX Executive Producer (Hydraulx) Lead Vendor “SKYLINE” COLIN STRAUSE UNIVERSAL PICTURES VFX Executive Producer (Hydraulx) GREG STRAUSE ROGUE PICTURES Lead Vendor “JONAH HEX” JIMMY HAYWARD WARNER BROTHERS VFX Executive Producer (Hydraulx) Lead Vendor “THE A-TEAM” JOE CARNAHAN TWENTIETH CENTURY FOX VFX Executive Producer (Hydraulx) “GET HIM TO THE GREEK” NICHOLAS STOLLER UNIVERSAL PICTURES VFX Executive Producer (Hydraulx) Lead Vendor Michael “Tony” Meagher -continued- “MARMADUKE” TOM DEY TWENTIETH CENTURY FOX VFX Executive Producer (Hydraulx) “THE BOOK OF ELI” ALBERT HUGHES WARNER BROTHERS VFX Executive Producer (Hydraulx) ALLEN HUGHES ALCON ENTERTAINMENT “CASE 39” CHRISTIAN ALVART PARAMOUNT VANTAGE VFX Producer (Hydraulx) Lead Vendor “AVATAR” JAMES CAMERON TWENTIETH CENTURY FOX Visual Effects (Hydraulx) (Exec Prod) uncredited “2012” ROLAND EMMERICH COLUMBIA PICTURES VFX Executive Producer (Hydraulx) “X-MEN ORIGINS: WOLVERINE” GAVIN HOOD TWENTIETH CENTURY FOX VFX Executive Producer (Hydraulx) “FAST & FURIOUS” JUSTIN LIN UNIVERSAL PICTURES VFX Executive Producer (Hydraulx) “BEDTIME STORIES” ADAM SHANKMAN WALT DISNEY PICTURES VFX Producer (Hydraulx) Lead Vendor “AUSTRALIA” BAZ LUHRMANN TWENTIETH CENTURY FOX VFX Producer (Hydraulx) “MEET DAVE” BRIAN ROBBINS TWENTIETH CENTURY FOX VFX Executive Producer (Hydraulx) Lead Vendor “THE INCREDIBLE HULK” LOUIS LETERRIER UNIVERSAL PICTURES VFX Executive Producer (Hydraulx) “JUMPER” DOUG LIMAN TWENTIETH CENTURY FOX VFX Producer (Hydraulx) “ALIEN VS. PREDATOR: REQUIEM” COLIN STRAUSE TWENTIETH CENTURY FOX Senior VFX Producer (Hydraulx) GREG STRAUSE Lead Vendor “THE INVASION” OLIVER HIRSCHBIEGEL WARNER BROTHERS VFX Producer (Hydraulx) UC Lead Vendor “4: RISE OF THE SILVER SURFER” TIM STORY TWENTIETH CENTURY FOX VFX Producer (Hydraulx) “SHOOTER” ANTOINE FUQUA PARAMOUNT PICTURES VFX Producer (Hydraulx) Lead Vendor “300” ZACK SNYDER WARNER BROTHERS VFX Producer (Hydraulx) “LITTLEMAN” KEENEN IVORY WAYANS COLUMBIA PICTURES VFX Producer (Hydraulx) REVOLUTION STUDIOS Lead Vendor “X-MEN: THE LAST STAND” BRETT RATNER TWENTIETH CENTURY FOX VFX Producer (Hydraulx) “SYRIANA” STEPHEN GAGHAN WARNER BROTHERS VFX Producer (Hydraulx) UC Lead Vendor “CRIMINAL MINDS” JEFF DAVIS TOUCHSTONE TELEVISION VFX Producer (Hydraulx) “ÆON FLUX” KARYN KUSAMA PARAMOUNT PICTURES VFX Producer (Hydraulx) Michael “Tony” Meagher -continued- “KISS KISS BANG BANG” SHANE BLACK WARNER BROTHERS VFX Executive Producer (Lola Visual Effects) “THE FOG” RUPERT WAINWRIGHT REVOLUTION STUDIOS VFX Producer (Hydraulx) Lead Vendor “VENOM” JIM GILLESPIE DIMENSION FILMS VFX Producer (Hydraulx) Lead Vendor “FANTASTIC FOUR” TIM STORY TWENTIETH CENTURY FOX Digital Effects Supervisor (Hydraulx) VFX Producer (Hydraulx) “THE ADVENTURES OF SHARKBOY ROBERT RODRIGUEZ DIMENSION FILMS AND LAVAGIRL 3-D” VFX Producer (Hydraulx) “XXX: STATE OF THE UNION” LEE TAMAHORI COLUMBIA PICTURES VFX Producer (Hydraulx) “CONSTANTINE” FRANCIS LAWRENCE WARNER BROTHERS VFX Producer (Hydraulx) “WHITE CHICKS” KEENEN IVORY WAYANS REVOLUTION STUDIOS VFX Producer (Lola Visual Effects) “THE DAY AFTER TOMORROW” ROLAND EMMERICH TWENTIETH CENTURY FOX VFX Producer (Hydraulx) “LOONEY TUNES: BACK IN ACTION” JOE DANTE WARNER BROTHERS VFX Producer (Hydraulx) “THE REAL ADENTURES OF JONNY DAVIS DOI HANNA-BARBERA PRODUCTIONS QUEST” Buzz FX Executive Producer “T2 3-D: BATTLE ACROSS TIME” JOHN BRUNO LANDMARK ENTERTAINMENT GROUP (Short) JAMES CAMERON VFX Coordinator – Digital Domain “STRANGE DAYS” KATHRYN BIGELOW LIGHTSTORM ENTERTAINMENT Digital Effects Coordinator - DD “POCAHONTAS” MIKE GABRIEL WALT DISNEY PICTURES Retakes ERIC GOLDBERG “THE LION KING” ROGER ALLERS WALT DISNEY PICTURES Assistant Production Manager ROB MINKOFF Caps & Retakes “THE NIGHTMARE BEFORE HENRY SELICK TOUCHSTONE PICTURES CHRISTMAS” Caps Personnel MUSIC VIDEOS: Post Production Supervisor on over 20 music videos for leading Music Video Directors Dave Meyers and Marcus Raboy in the late 90’s. Artists include Aerosmith, Britney Spears, and Backstreet Boys. COMMERCIALS: Production Manager (2) and Coordinator (16) on 18 commercials between 1997 and 2002 Notable: Spent 4 years as a NYC Wall Street broker for American Express/Shearson Lehman Bros. reporting to Michael Burns (current Vice Chair Lionsgate). Education: BA Boston University Affiliations: Producers Guild of America Citizenship: U.S. & Canada (Grew up in Ontario) .
Load more

Recommended publications
  • The Academy Award Nominations Are out and the Winner Is.....Digital Artistry
    The Academy Award Nominations Are Out and the Winner Is.....Digital Artistry February 24, 2014 Autodesk Software Plays an Integral Role in the Creation of Great Movies – Including 8 of the 9 Best Picture Nominees SAN FRANCISCO--(BUSINESS WIRE)--Feb. 24, 2014-- Great movies are defined by great stories and increasingly, great storytelling is being empowered by digital technology. Autodesk, Inc. (NASDAQ:ADSK) media and entertainment staff and software played a starring role in the creation of many of this year’s Academy Award nominees across many categories and were recognized by the Academy of Motion Picture Arts and Sciences with two Scientific and Technical Achievement Awards (Sci-Tech Awards). “This year has been especially gratifying. Not only is it the 19th consecutive year Autodesk software has enabled Academy nominated filmmakers to push the boundaries of what is possible by enabling them to tell stories that just would not be possible practically – whether it’s creating the weightlessness of outer-space or the ice-locked beauty of a frozen world,” explains Chris Bradshaw, Autodesk senior vice president. “But Autodesk staff were also recognized by the Academy for two of the technologies they developed, and were instrumental in helping Mark Gill bring ‘The Voorman Problem,’ to the big screen. We are delighted to be such an integral part of innovative filmmaking.” Scientific and Technical Achievement Awards Every year, the Academy hosts a special awards ceremony two weeks before the Oscar ceremony to recognize the “discoveries and
    [Show full text]
  • Kromag04.Pdf
    Kromag 04 /:/ Automne-Hiver 2007 edito Duler Après bien des péripéties, le Kromag nouveau est arrivé. Ce qui nous vaut une parution à Noël là où l’on Equipe désespérait de voir arriver ce numéro d’automne (rappelons qu’à cet instant la saison reste d’actualité). Profitons d’emblée de ce hasard du calendrier pour vous souhaiter de bonnes fêtes de fin d’année. Quant à cette nouvelle fournée, aux habituelles rencontres avec des studios et des créatifs de la planète Rédaction et direction vient s’ajouter une rubrique du nom de ZoomArt. Conçue sous forme de portrait dédié à des artistes, qu’ils artistique soient seuls ou en équipe, cette rubrique à géométrie variable aura les atouts de ses défauts : une écriture Stéphane Zissu toujours passionnée pour une parution aléatoire. Bruno Aveillan ouvre le bal avec une oeuvre envoû- Sophie Malinge tante qu’on souhaitait vraiment vous présenter. Le reste de la distribution est à l’avenant : Duler nous livre ses impressions, entre design industriels et opportunités télévisuelles, Ben Morris nous ouvre grand les portes de Fulltank et enfin Umeric innove en nous offrant un Behind the scene des plus instructifs. Maquette Bref, ce numéro sera festif ou ne sera pas... Vos réactions sont donc toujours les bienvenues. Il nous reste Sophie Malinge qu’à vous souhaiter à nouveau d’excellentes fêtes, un bon réveillon et surtout une bonne année si on ne se revoie pas d’ici-là ! [email protected] After many events, new Kromag issue is finally launched. Even if this is a Christmas where one desperate www.kromotion.com to see this issue fall (note that the season is still effective).
    [Show full text]
  • Final Copy 2020 06 23 Niu
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: Digital visual effects in contemporary Hollywood cinema aesthetics, networks and transnational practice General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: DIGITAL VISUAL EFFECTS IN CONTEMPORARY HOLLYWOOD CINEMA AESTHETICS, NETWORKS AND TRANSNATIONAL PRACTICE General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License.
    [Show full text]
  • Andy Romine 818-590-9801 (Mobile) [email protected] Link: Reel
    Andy Romine 818-590-9801 (mobile) [email protected] Link: reel: https://vimeo.com/114588256 Skills Key Skills: cloth development, hair & character effects. Other Skills: lighting, surfacing, animation, modeling, compositing, mel, python. Key Software & Tools: Maya, Houdini, Qualoth, Syflex, Shake, After Effects, Mental Ray, zBrush, various proprietary studio tools. Experience Walt Disney Animation, Culver City, CA April 2014 – September 2014 Big Hero 6 Feature Film Technical Animation The Mill, Culver City, CA Oct 2013 – April 2014 Coke, Gillette, VW, DirecTV Commericials Senior Cloth & Simulation Artist Digital Domain, Playa Vista, CA April 2013 – May 2013 Destiny & Shadows of Mordor Commericials Hair & Cloth TD DreamWorks Animation, Glendale, CA November 2007 – April 2013 Turbo Feature Film Cloth/Hair/Character FX Artist The Croods Feature Film Cloth/Hair/Character FX Artist Puss in Boots Feature Film Cloth Dev/Character FX Artist How to Train Your Dragon Feature Film Cloth Dev/Character FX Artist Sony Imageworks, Culver City, CA July 2007 – October 2007 I Am Legend Feature Film Cloth/Hair TD Hydraulx, Santa Monica, CA March 2007 – May 2007 Fantastic Four 2 Feature Film Dynamics (Cloth Sim & Particles) The Syndicate, Santa Monica, CA Jan 2007 – Feb 2007 Six Flags (You are Here) Commercial Digital Artist (Lighting, Modeling, FX) Pixel Magic,Toluca Lake, CA June 2006 – October 2006 Rogue Feature Film Digital Artist (lighting & simulation) 300 Feature Film Look Development & Lighting The Guardian Feature Film Lighting & Effects Entity
    [Show full text]
  • Resume Sam Edwards Visual Effects Supervisor 838 15Th St. Apt. 2
    Resume Sam Edwards Visual Effects Supervisor 838 15th St. Apt. 2 Santa Monica, CA 90403 cell (310) 804-2022 [email protected] Goal To use my technical skills to create excellent visuals for motion pictures and TV. Visual Effects Credit Highlights The Newsroom (TV Series, 2012, 10 Episodes) Visual Effects Supervisor Game of Thrones (TV Series, 2012, 1 Episode) Visual Effects Supervisor, Additional VFX Shameless (TV Series, 2012, 12 Episodes) Visual Effects Supervisor Final Destination 5 (Stereoscopic Title Sequence, 2011, Steve Quale) Visual Effects Supervisor, Kyle Cooper, Designer Prime Suspect (TV Series, 2012, 10 Episodes) Visual Effects Supervisor The Green Hornet (2011 Michel Gondry) VFX Sequence Designer Thor (2011 Kenneth Branagh) Digital Compositor Iron Man 2 (2010 Jon Favreau) Digital Compositor Iron Cross (2010 Joshua Newton) VFX Supervisor at Calibra Pictures Avatar (2009 James Cameron) Stereoscopic Compositing Supervisor at Hydraulx X-Men Origins: Wolverine (2009 Gavin Hood) Sequence Supervisor. Eric Liles and Patrick McClung Visual Effects Supervisors Journey to the Center of the Earth 3D (2008 Erik Brevig) Compositing Supervisor. Chris Townsend, Visual Effects Supervisor The Curious Case of Benjamin Button (2008 David Fincher) Sequence Supervisor. Greg Strause, Visual Effects Supervisor Wanted (2008 Timur Bekmanbetov) Inferno Artist. Erik Liles, Visual Effects Supervisor The Incredible Hulk (2008 Louis Leterrier) Inferno Artist. Greg and Colin Strause, Visual Effects Supervisors Alien vs. Predator: Requiem (2008 The Brothers Strause) Inferno Artist. The Brothers Strause, Visual Effects Supervisors Pirates of the Caribbean: Dead Man’s Chest (2006 Gore Verbinski) Inferno Artist/Shake Compositor. John Knoll Visual Effects Supervisor Lady in the Water (2006, M. Night Shyamalan) Inferno Artist.
    [Show full text]
  • Visual Effects Supervisor Sam Edwards
    Visual Effects Supervisor Sam Edwards Visual Effects Supervisor Credits 9-1-1 (TV Series, 2018-2019, 4 Episodes) VFX Supervisor (FuseFX -Present) Colony Season 3 (TV Series, 2018, 13 Episodes) VFX Supervisor (Legacy Entertainment) Cloak and Dagger (TV Pilot, 2017, 1 Episode) VFX Supervisor (Marvel) Good Girls Revolt (TV Series, 2016, 12 Episodes) VFX Supervisor (FuseFX and On Set) Sleepy Hollow (TV Series, 2015, 9 Episodes) VFX Supervisor (Origin DS) Limitless (TV Series, 2015, 4 Episodes) VFX Supervisor (Origin DS) Shameless (TV Series, 2012-15, 14 Episodes) On Set and VFX Supervisor (ShowTime) The Newsroom (TV Series, 2012, 10 Episodes) On Set and VFX Supervisor (HBO) Game of Thrones (TV Series, 2012, 1 Episode) Visual Effects Supervisor, Additional VFX (MFX) Prime Suspect (TV Series, 2012, 10 Episodes) On Set and VFX Supervisor (MFX) Final Destination 5 (2011, Steve Quale) On Set and VFX Supervisor, Stereoscopic Title Sequence (Prologue) Compositing Supervisor Credits Cosmos: A Space Time Odyssey (TV Series, 2014, 12 Episodes) Compositing Supervisor (Awards) Flame Artist (Credits) Iron Man 3 (2013, Shane Black) Compositing Supervisor: Prologue Avatar (2009, James Cameron) Stereoscopic Compositing Supervisor at Hydraulx 4929 Wilshire Blvd., Ste. 259 Los Angeles, CA 90010 ph 323.782.1854 fx 323.345.5690 [email protected] Journey to the Center of the Earth 3D (2008, Erik Brevig) Compositing Supervisor at Meteor Studio Awards Highlights Primetime Emmy Award Nominee 2014 - Cosmos: A Space Time Odyssey Flame Award Nominee 2014 Flame
    [Show full text]
  • Universidade Federal Do Ceará Instituto Ufc Virtual Curso De Sistemas E Mídias Digitais André Barbosa Albuquerque Análise Do
    UNIVERSIDADE FEDERAL DO CEARÁ INSTITUTO UFC VIRTUAL CURSO DE SISTEMAS E MÍDIAS DIGITAIS ANDRÉ BARBOSA ALBUQUERQUE ANÁLISE DO PROCESSO DE PRODUÇÃO E PÓS-PRODUÇÃO DE SEQUÊNCIAS REALISTAS EM VINGADORES: GUERRA INFINITA FORTALEZA 2018 ANDRÉ BARBOSA ALBUQUERQUE ANÁLISE DO PROCESSO DE PRODUÇÃO E PÓS-PRODUÇÃO DE SEQUÊNCIAS REALISTAS EM VINGADORES: GUERRA INFINITA Monografia apresentada ao Curso de Sistemas e Mídias Digitais do Instituto UFC Virtual da Universidade Federal do Ceará, como requisito parcial para obtenção do título de Bacharel em Sistemas e Mídias Digitais. Orientadora: Prof. Ma. Mara Franklin Bonates. FORTALEZA 2018 Dados Internacionais de Catalogação na Publicação Universidade Federal do Ceará Biblioteca Universitária Gerada automaticamente pelo módulo Catalog, mediante os dados fornecidos pelo(a) autor(a) A298a Albuquerque, André Barbosa. Análise do processo de produção e pós-produção de sequências realistas em vingadores: guerra infinita. / André Barbosa Albuquerque. – 2019. 62 f. : il. color. Trabalho de Conclusão de Curso (graduação) – Universidade Federal do Ceará, Instituto UFC Virtual, Curso de Sistemas e Mídias Digitais, Fortaleza, 2019. Orientação: Profa. Dra. Mara Franklin Bonates. 1. Composição digital. 2. Color grading. 3. Efeitos Visuais. I. Título. CDD 302.23 À Deus. Aos meus pais, Melina e Wellington. AGRADECIMENTOS À Universidade Federal do Ceará, pelos anos de educação de qualidade, permitindo que eu pudesse crescer academicamente e profissionalmente. À Mara Franklin Bonates, orientadora que me auxiliou da melhor maneira possível neste trabalho, partilhando ideias e sugestões, críticas construtivas e fazendo as devidas correções. À Container Digital Júnior, Empresa Júnior do Curso de Sistemas e Mídias Digitais, e a todos que fizeram e fazem parte dela, pois lá tive a oportunidade de crescer de forma grandiosa como profissional.
    [Show full text]
  • AVATAR Conduce Lo Spettatore in Un Mondo Spettacolare Al
    AVATAR conduce lo spettatore in un mondo spettacolare al di là di ogni immaginazione, in cui un uomo appena arrivato dalla Terra intraprende un’avventura epica, che lo porta alla fine a lottare per salvare quel mondo alieno che ha imparato a chiamare casa. James Cameron, il regista vincitore dell’Oscar con “Titanic”, aveva concepito il film quindici anni fa, quando i mezzi per realizzare la sua visione non esistevano ancora. Oggi, dopo quattro anni di produzione, AVATAR, un film live action con una nuova generazione di effetti speciali, offre un’inedita esperienza cinematografica totalmente coinvolgente, in cui la tecnologia rivoluzionaria inventata per realizzare la visione del regista si dissolve nelle emozioni dei personaggi e nella grandiosità della vicenda narrata. Entriamo nel mondo alieno attraverso gli occhi di Jake Sully, un ex Marine costretto a vivere su una sedia a rotelle. Nonostante la disabilità fisica, nel cuore Jake è rimasto un combattente. Viene arruolato e, dopo un viaggio di alcuni anni luce, raggiunge l’avamposto degli umani su Pandora, dove un consorzio di aziende è impegnato nell’estrazione di un raro minerale, indispensabile per risolvere la crisi energetica sulla Terra. Poiché l’atmosfera di Pandora è tossica, è stato sviluppato il Programma Avatar, che permette di collegare la coscienza umana a un avatar, cioè un corpo biologico guidato a distanza, in grado di sopravvivere all’atmosfera letale del pianeta. Questi avatar sono ibridi geneticamente modificati in cui il DNA umano è stato mescolato con quello della popolazione indigena di Pandora… i Na’vi. Rinato nel corpo di un avatar, Jake può camminare di nuovo e dare inizio alla missione che gli è stata assegnata: infiltrarsi nel mondo dei Naʹvi, che sono diventati un serio ostacolo per le attività estrattive del prezioso minerale.
    [Show full text]
  • P36-40 Layout 1
    Swedish comedy 'The Square' is surprise Cannes winner TUESDAY, MAY 30, 2017 38 (From left) Best Actor prize laureate US actor Joaquin Phoenix, Best Screenplay co-laureate British director Lynne Ramsay, Grand Prix laureate French director Robin Campillo (rear), Best Actress Prize laureate German actress Diane Kruger, French actress and President of the Camera d'Or jury Sandrine Kiberlain, Camera d'Or laureate French director Leonor Serraille, French actress Laetiti Dosch, French actress Juliette Binoche and Spanish director and President of the Feature Film Jury Pedro Almodovar pose on stage at the end of the closing ceremony of the 70th edition of the Cannes Film Festival in Cannes, southern France. — AFP How Hollywood is giving its biggest stars digital facelifts ohnny Depp is 53 years old but he cal for "Pirates." said Trent Claus, the visual effects supervisor moves and reacts to movement and expres- a full-on human performer that plays a key doesn't look a day over 26 in the new "No one else can be Jack Sparrow," said for Lola VFX. "People can tell when there is sions." To counteract this, productions will role throughout the duration of a feature J"Pirates of the Caribbean" movie - at Gary Brozenich, the Oscar-nominated VFX something amiss. Even if they can't put their often shoot a younger double to mimic an film," he said. "I think that that's really the least for a few moments. There was no plas- artist who oversaw visual effects for the film. finger on what is wrong, they can tell that actor's performance, which they will use as Holy Grail." — AP tic surgeon involved, heavy makeup or "Trying to do a digital approximation ..
    [Show full text]
  • MARCH 2019 the Cathedral of Christ the King Superior, Wisconsin Cover Feature on Pages 22–23
    THE DIAPASON MARCH 2019 The Cathedral of Christ the King Superior, Wisconsin Cover feature on pages 22–23 PHILLIP TRUCKENBROD CONCERT ARTISTS ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE LOUPRETTE & GOFF DUO ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN ROBIN & LELEU DUO BENJAMIN SHEEN HERNDON SPILLMAN CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER IT’S ALL ABOUT THE ART ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 3, Our website and more vintage issues Whole No. 1312 We have uploaded more digitized issues from our 110 year MARCH 2019 history at our website, www.thediapason.com. At this time, sub- Established in 1909 scribers can view most issues from 1944–1945, 1966–1993, and Stephen Schnurr ISSN 0012-2378 2005 to the present. There are some gaps within these years, 847/954-7989; [email protected] and we are interested in acquiring missing issues, should you www.TheDiapason.com An International Monthly Devoted to the Organ, have them. The project of digitization will continue, with the the Harpsichord, Carillon, and Church Music goal at the end of phase 1 to offer PDFs of issues between 1944 Avenue, New York City. Jonathan Ortloff and Kola Owolabi and the present.
    [Show full text]
  • J. Edgar Hoover Durante La Sua Vita Divennel’Uomo Più Potente Di Tutta L’America
    2 J. Edgar Hoover durante la sua vita divennel’uomo più potente di tutta l’America. Come capo dell’FBI per circa 50 anni, non si fermò davanti a nulla pur di proteggere il suo Paese. Passando attraverso 8 Presidenti e tre guerre, Hoover si è lanciato in una guerra contro minacce sia vere che immaginarie, infrangendo spesso anche le regole per proteggere i suoi concittadini. I suoi metodi erano spietati ed eroici e ricevere l’ammirazione del mondo era quello a cui teneva di più. Hoover è stato un uomo che dava grande valore ai segreti — in particolare a quelli degli altri—e non ha avuto paura di usare quelle informazioni per esercitare la sua autorità sui leader più importanti della nazione. Consapevole che la conoscenza è potere e che la paura crea le opportunità, ha usato entrambe per ottenere una influenza senza precedenti e per costruirsi una reputazione formidabile ed intoccabile. Era molto schivo nella sua vita privata quanto in quella pubblica, permettendo solo ad un ristretto gruppo di persone di far parte della sua vita. Il suo collaboratore più stretto, Clyde Tolson, era anche uno dei suoi amici più cari. La sua segretaria, Helen Gandy, che probabilmente è stata la persona a lui più vicina e al corrente di tutte le sue attività, gli è rimasta fedele fino alla fine…e oltre. Solo la madre lo lascerà, lei che era stata la più grande ispirazione e coscienza. La sua morte avrà un effetto devastante su di lui, il figlio che ha cercato eternamente il suo amore e la sua approvazione.
    [Show full text]
  • Lifesaving Design to the I-MAX A+ Animations
    Contents Zoom In Zoom Out For navigation instructions please click here Search Issue Next Page ComputerTHE MAGAZINE FOR DIGITAL CONTENT CREATION AND PRODUCTION January 2007 www.cgw.com WORLD Lifesaving Design Specialists use CAD tools to develop a device for the heart To the I-MAX CG films get depth and grow large in stereo 3D A+ Animations Students get high marks for their animated shorts Funny Bones A digital T. rex exhibits puppy-like behaviors amid chaos as museum displays come alive $4.95 USA $6.50 Canada Contents Zoom In Zoom Out For navigation instructions please click here Search Issue Next Page A CW Previous Page Contents Zoom In Zoom Out Front Cover Search Issue Next Page BEF MaGS ___________ __________________ A CW Previous Page Contents Zoom In Zoom Out Front Cover Search Issue Next Page BEF MaGS A CW Previous Page Contents Zoom In Zoom Out Front Cover Search Issue Next Page BEF MaGS Karen Moltenbrey Chief Editor note KAREN MOLTENBREY: Chief Editor A Good Year for CG [email protected] 36 East Nashua Road Windham, NH 03087 (603) 432-7568 By now, you should have unwrapped and, hopefully, put to good use all those holiday gifts you received. Be honest, you probably even returned one CONTRIBUTING EDITORS: Courtney Howard, Jenny Donelan, or two things. In terms of apparel, perhaps you were unhappy with the color, Audrey Doyle, Evan Marc Hirsch, George Maestri, Martin McEachern, editor’s fi t, or the item itself; but if the present fell into the category of electronics, you Stephen Porter, Barbara Robertson may have traded up for a newer, more advanced version.
    [Show full text]