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Following previews, it's now being hailed as a mind-boggling sci-fi genre landmark, best experienced in stereo 3D. Get free admission to VERTEX 2019, the ultimate event for 2D and 3D artists 02. Dumbo With the roaring success of Jon Favreau’s 2016 remake of The Jungle Book, Disney is busy recreating its back-catalogue of cel-animated features, using live action with CG characters. The heart-rending tale of a floppy-eared flying elephant is coming to the big screen under the direction of Tim Burton, with effects and animation by Framestore, MPC, RodeoFX and Rise Visual Effects Studios, with DNEG on 3D conversion duties. Fortunately Dreamworks’ How To Train Your Dragon series is in the former camp, excelling in storytelling, emotion, humour and design. The trilogy finale reunites Hiccup with his Night Fury dragon, Toothless, in a quest to locate the fabled Hidden World, a safe haven for dragons. The quality of Dreamworks’ animation has long been among the best in the business, as evidenced by the exquisite environments, atmospheric lighting and lovely volumetric effects featured in the trailer. 04. Captain Marvel The 21st film in the Marvel Cinematic Universe (MCU), and the first female-led of the franchise, features Brie Larson as Carol Danvers, the latest character to don the mantle of Captain Marvel. Jackson (Nick Fury) and Clark Gregg (Agent Phil Coulson), which is being handled, as usual, by LolaVFX. Once Danvers realises who she is, the action ramps up with alien citadels, explosive space battles and superhero-powered fights. With much of the cast represented as entirely CG entities, and the story taking the Avengers to outer space, inner space, parallel dimensions and mystic realms, it’s sure to be a dynamic VFX showcase. Indeed, all of the major vendors have been called upon, with DNEG, Digital Domain, ILM, Weta Digital, Framestore and Cinesite all providing shots. Marvel is, unsurprisingly, tight-lipped about the much-anticipated project, so it's hard to say which company is working on what, but no doubt Weta and Digital Domain will be reprising their excellent work on bringing the villain Thanos to life. 06. Hellboy Guillermo Del Toro and Ron Perlman may no longer be involved, but at least Hellboy is back. Plus, several other smaller units are lined up to provides various CG monsters, environments and effects, including Onirikal Studios on smoke, fire and blood and Nu Boyana FX on CG character duties.

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With his Sex Pistols T-shirt and his sensualist credo, there is something of the aging rocker about him. But if you spend any time with Bourdain you realize that he is controlled to the point of neurosis: clean, organized, disciplined, courteous, systematic. He is Apollo in drag as Dionysus. “He has his mise en place,” his friend the chef Eric Ripert told me, noting that Bourdain’s punctiliousness is a reflection not only of his personality and his culinary training but also of necessity: if he weren’t so structured, he could never stay on top of his proliferating commitments. In addition to producing and starring in “Parts Unknown,” he selects the locations, writes the voice-overs, and works closely with the cinematographers and the music supervisors. When he is not on camera, he is writing: essays, cookbooks, graphic novels about a homicidal sushi chef, screenplays. (David Simon recruited him to write the restaurant scenes in “Treme. ) Or he is hosting other TV shows, such as “The Taste,” a reality competition that ran for two years on ABC. Last fall, during a hiatus from filming, he launched a fifteen-city standup tour. This idea resonates strongly with Bourdain, and, although he insists his show is a selfish epicurean enterprise, Obama’s ethic could be the governing thesis of “Parts Unknown. In the opening moments of an episode set in Myanmar, Bourdain observes, “Chances are you haven’t been to this place. Chances are this is a place you’ve never seen. From the moment Bourdain conceives of an episode, he obsesses over the soundtrack, and for the sequence with Obama he wanted to include the James Brown song “The Boss. When the producers cannot afford to license a song, they often commission music that evokes the original. It generally takes Bourdain about a week of frantic work on location to film each episode. He has a small crew—two producers and a few cameramen—who recruit local fixers and grips. His team often shoots between sixty and eighty hours of footage in order to make an hour-long episode.


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