Thad Beier (R&D manager, PDI): The summer before we got the work for “Black or White,” we had to do some warping for a Plymouth Voyager minivan commercial and we had to design a tool to do it. By the time “Black or White” came along we had already done quite a few commercials with it, and we thought that the video would show it off beautifully. We saw morphing as a great tool to help with film and commercial effects, and had built a tool that enabled us to do it faster and better than anyone else at the time. Our goal from the mid-’80s on was to build the studio to be able to produce our own fully animated feature films. office in 1990 to do feature film work, but were still primarily producing commercials and some broadcast graphics. And you just have to make some very subtle adjustments.’ From car commercials and Terminator 2 to Michael JacksonĬarl Rosendahl (founder, PDI): We had opened PDI’s L.A. He said, ‘Well, if you line up the eyes, then you know the faces will all fit on top of each other. Tim Clawson: We talked to Lol Creme about how they did that – they had no money so they didn’t really use visual effects.
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