Sunday, August 12, 2018

SDCC: Previs Supervisor - Pacific Rim: Uprising - Brad Alexander Interview

Photo Content from Halon

HALON partner Brad Alexander has collaborated with world-class filmmakers across the industry to help create some of cinema’s most compelling stories. Brad was quickly immersed into the world of Previs at Skywalker Ranch on Star Wars: Episode II – Attack of the Clones, Star Wars: Episode III – Revenge of the Sith and The George Lucas Director’s Cut: THX 1138 for JAK Films. As a founding Partner at HALON, Brad has worked on legendary high-profile features as War of the Worlds, Transformers, World War Z, as well as spending four years as CG/Virtual Lab Supervisor on James Cameron’s Avatar. Brad also partnered with Ang Lee as the primary Previs Supervisor on the Academy award winning feature, Life of Pi. From there, Brad Previs Supervised Snow White and the Huntsman; Previs and Postviz supervised Star Trek Into Darkness with J.J. Abrams, and then Supervised on Brad Bird’s Tomorrowland. When work started on Star Wars: The Force Awakens, Brad again teamed up with Abrams to supervise both the U.S. and U.K. teams. More recently, Brad has supervised on Luc Besson’s Valerian and the City of a Thousand Planets and two highly anticipated major motion pictures set for release in 2018.

Jake Pentecost, son of Stacker Pentecost, reunites with Mako Mori to lead a new generation of Jaeger pilots, including rival Lambert and 15-year-old hacker Amara, against a new Kaiju threat.

Pacific Rim Uprising is a 2018 American science fiction film directed by Steven S. DeKnight (in his feature-film directorial debut), and written by DeKnight, Emily Carmichael, Kira Snyder, and T.S. Nowlin. It is the sequel to the 2013 film Pacific Rim, with Guillermo del Toro, the director of the original, serving as a producer. The sequel stars John Boyega (also making his producer debut), as well as Scott Eastwood, Cailee Spaeny, Jing Tian, Adria Arjona, and Zhang Jin, with Rinko Kikuchi, Charlie Day, and Burn Gorman returning from the original film. Set in the year 2035, the plot follows humanity again fighting Kaiju, the giant monsters set on destroying the world.

Principal photography began in November 2016 in Australia. The film was released in the United States on March 23, 2018, by Universal Pictures, in 2D, Real D 3D, IMAX 3D, and IMAX, and grossed $290 million worldwide. It received mixed reviews from critics; with some calling the film inferior to del Toro's and criticizing the scope, pacing, story, as well as the absent characters from the previous film and the underdeveloped new characters, while others praised the visual effects and performances of Boyega and Spaeny.

Directed by Luc Besson
Duration: 6.5 Months
HALON Entertainment joined Luc Besson to bring the story of Valérian and Laureline to the big screen! Based on the French graphic novel series, HALON worked with Besson and his amazing team to create exciting and amazing worlds that will take us on a fun and wild adventure.

Directed by Ang Lee
Previs supervisors Brad Alexander and Gary Lee led the HALON team in their collaboration with director Ang Lee to tell the story of a boy, and a Bengal tiger named Richard Parker, prevising over 90 minutes of the film. Andrew Moffett supervised postvis to continue the support throughout the editing process.

Directed by J.J. Abrams
Postvis in US
It was a dream for HALON to help bring the spirit of Star Wars back to the theater after so many years. HALON traveled the globe from LA to the UK, working from start to finish, to support J.J Abrams and his vision for the upcoming franchise. Thanks to all of the amazing HALON artists responsible for such compelling work.

Directed by J.J. Abrams
Duration: October 2010 – April 2013 

Directed by Brad Bird
Previs Duration: 1 Year 2 Months
Postvis Duration: 8.6 Months
Halon was asked to come in and help visionary director Brad Bird envision Tomorrowland. We of course wanted to stay true to the Walt Disney legacy of his most prized creation but we also wanted to recreate what tomorrow would possibly become. Brad had brilliant ideas and looked to us to figure out the best way to tell his story. It was a great pleasure to work on a film that will bring us back to wonder.

Directed by James Cameron
HALON Entertainment would like to congratulate Brad Alexander, Andrew Moffett, Jerry Kung, Daryl Bartley, Ignacio Pena and Jeremy Agamata for their years of hard work to successfully bring the magic of Avatar to the screen.

Halon Entertainment’s involvement with Avatar was over four (4) years long. The tasks of each HALON team member changed dynamically from day to day as the show pipeline and workflow was consistently evolving. Below is a simplified representation of our general responsibilities for AVATAR.

Asset creation, asset manipulation, motionbuilder scene building (stitching, combos), video facemask generation, scene troubleshooting, animation fixes, environment tweaks and specific director notes were all part of each artists routine

Bradley Alexander started off the show as Previsualization Supervisor and rose to become CG Supervisor. He was ultimately responsible for the organization and planning of the 3rd act Battle. Alexander spent most of his fourth (4th) year on stage for the 3rd act virtual camera shoots making sure things went smoothly in coordination with all other teams. Toward the end of the show Alexander also supervised all I/O for shots with integration of live action and cg.

Jerry Kung, CG Supervisor, started his tour as a sequence lead. His organizational skills were a pillar for the entire team. Toward the end of the show Kung supervised all I/O for CG only shots.

Andrew Moffett headed up many sequences as a sequence lead. All of his work was executed quickly and with an extremely low margin of error.

Jeremy Agamata, virtual cinema artist, keep everything moving smooth from lab to stage.

Ignacio Pena held down stage operator for Cameron as he proved his speed and flexibility to work under pressure in a live virtual camera environment.

Daryl Bartley was 3d tracking guru for all the alternative content scenes that required camera tracking and object tracking.

HALON is proud of the work that was completed by the many talented artists and crew involved with this production and we would like to thank James Cameron, Jon Landau and Colin Wilson for the amazing experience and opportunity to be part of this film.


Video: Erik Werlin. Audio/Edit: James Vallesteros (@jamesvallesteros)
HALON was founded in 2003 by Daniel Gregoire as a full-service visualization company that brings together industry leading Directors, Supervisors and Artists who are committed to advancing the art of storytelling. We are supported by a technology team who provide a state-of-the-art platform of cutting edge technology, to help our clients realize their creative vision on screen.

With headquarters in Santa Monica and operations in Vancouver and London, HALON employs a core team of artists specializing in Storyboarding, Pitchvis, Previs, Postvis, Techvis, VFX, and Game Cinematics. Customizable and scalable to meet the specific needs of any production, we believe in dedicating a team to your project, ensuring creative continuity from start to finish.

At HALON, we combine industry leading animation, design and real time game engine software with robust project management systems, and HALON’s extensive archive of digital assets, HAL (Halon Asset Library). Combined, this delivers a reliable, client focused digital production solution that integrates easily into your pipeline.

Every project benefits from HALON’s leading creative solutions for rapid animation, high fidelity rendering, and reality capture systems for real-time capture of actor performances and camera tracks. The combination of these tools allows creatives to block actors, explore sets and discover their virtual world in a hands-on interactive process that can mirror any real world set.

With a proven track record of collaboration with creatives to realize their visions on screen, we are passionate storytellers and masters of our craft.
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