Pirates of the Caribbean: On Stranger instal the new for windows

The complex 3D environments included full CG street builds with detailed period buildings, as well as set and background extensions. For this we were tasked with creating large-scale photorealistic 3D environments. Our main sequence was the dramatic carriage chase through London. Once the pipeline was in place we did some test shots – including footage from our work on CLASH OF THE TITANS. This was Cinesite’s first foray into stereo visual effects and required building a new pipeline to accommodate stereo files. In the end we were awarded about 300 shots. We were sent the script and pitched for a large chuck of the work. How did Cinesite get involved in this film? Also Pat Sandston, associate producer, had worked with us before so he knew what we were capable of creating. It came down to budgets really as the tax break the production received for shooting the film in the UK meant that some of post work had to be awarded to UK companies. How was your collaboration with director Rob Marshall and production VFX supervisor Charlie Gibson? I made the move to Cinesite in 2003 and have supervised many of the company’s projects including the award-winning MOON (2009), CLASH OF THE TITANS (2010) and now PIRATES OF THE CARIBBEAN: ON STRANGE TIDES (2011). Before joining Cinesite I was at Mill Film, where I comp supervised and digitally supervised on many films including GLADIATOR (2000) and BLACK HAWK DOWN (2001) and various HARRY POTTERS. My first feature film project was a pre-visualisation role for LOST IN SPACE (1998). I began my career creating high-end vfx, idents and graphics for commercials and TV.

He joined Cinesite in 2003 and oversees movies like MOON or CLASH OF THE TITANS. He remained there until 2003, he has supervised the compositing of movies such as GLADIATOR and BLACK HAWK DOWN. Simon Stanley-Clamp began his career in feature film at Mill Film with LOST IN SPACE.

Pirates of the Caribbean: On Stranger instal the new for windows