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Cinema Makeup School Hosts Academy Award Winner Ve Neill

The Cinema Makeup School recently held an open house to introduce the makeup industry to its new facility in L.A.’s historic Wiltern Theatre. Three-time Academy Award winning makeup artist Ve Neill led a unique special effects makeup demonstration. Neill worked side-by-side with Cinema Makeup School graduates Miranda Jory and Miyo Nakamura to apply a silicone gel-filled appliance of their creation. The design was created by Ian Lome along with Jory and Nakamura, after being carefully selected by CMS directors from a wide range of entries for its creativity, technical difficulty and originality. […]

Contender Portfolios

Framestore Delivers Dramatic VFX for Sherlock Holmes: A Game of Shadows

Framestore recently created roughly 550 shots for Guy Ritchie’s Sherlock Holmes: A Game of Shadows, including the film’s climactic encounter at the Reichenbach Falls and a thrilling battle on a speeding train, as well as numerous elaborate environmental shots and set extension work, a scene taking place inside a gun, and some ingenious, near-subliminal “puffs of breath.” […]

Awards

Contender – Director of Photography Phedon Papamichael, The Descendants, The Ides of March

This year, director of photography Phedon Papamichael has applied his considerable skills as a cinematographer to two very different films that both happen to star George Clooney. In The Descendants, Clooney is the conflicted scion of a clan with deep roots in Hawaii whose wife is in a coma from an accident. At the same time he has to decide whether to dispose of the family’s heritage for generations, a pristine expanse of beach property, which his cousins want sold and developed so they can cash out. […]

Awards

Contender – Editor Thelma Schoonmaker, Hugo

Although working on the film Hugo in 3D was a first for editor Thelma Schoonmaker, A.C.E. and director Martin Scorsese, she didn’t feel it changed her normal editing process much. Many 3D films are edited in 2D, with the extra dimension not being seen until the film is actually screened, but Schoonmaker was able to edit in 3D, so she could see what the final shots would look like and correct any problems. […]