LOOK FX: Their Greatness

[EAllen]

Above, their work on Legion from earlier this year.


They are a renowned post-house with projects spanning TV, film and interactive properties. Their work on Aronofsky's Black Swan is drawing plaudits from some unlikely, unexpected parties (see the #6 entry on VFX World's Fall Preview list for some detail on their work for Swan; click on link in same article entry to see some of their shots for Lost) and their upcoming work for Earthbound and Warrior are bound to turn some more heads and capture more attention. Not to mention attract more high-profile clients . . .




Tellin' you guys--regarding Look, I expect big things coming up from these guys.






Gotta love their shots for Bones!



Some of their work for CSI: NY below.

Before--



After--

[Charles]

That's some incredible work. I saw Legion earlier in the year, and although it didn't meet my expectations, it certainly wasn't because of the FX. More to do with story than anything else. In fact, the FX carried the film. Thanks for posting this EAllen.

[EAllen]

Thanks Charles!

Again, you bring up an issue that will have more staying power than Mariah Carey. The VFX/Story quandary will continue to be an issue (come to think of it, even with my own projects), and with VFX production hours coming in cheaper and cheaper, it's reasonable to expect more pros to favor shot elements over their narrative counterparts--exactly what Spielberg feared when he talked up the FX for his own film War of the Worlds in interviews, 'specially if they are "easy fixes". Of course, then the story begins to become too dependent on VFX, and then you run into major probs . . .

To clarify--Spin, Optic Nerve, The Orphanage and another usual suspect Eyetronics all collabed with Look in post on the Legion shots, but IMHO Look had the most interesting viz work to do.