The opening credits sequence of “The Good Fight” is so distinctive that even the location where it all began can’t quite shake it.
When Lawson Deming and an assembled crew returned to Quixote Studios in Los Angeles to film the show’s latest round of exploding objects, they arrived to find there was still proof of their last visit, lodged in a spot high above them.
“When we walked onto the stage, we hadn’t been there in two years. We still saw bits of debris embedded in the ceiling from the last time we’d been there. That stuff goes everywhere,” Deming said.
For anyone who’s taken the plunge on the Paramount+ original since its 2017 premiere, that will be a familiar sentiment. A show channeling the rage and bewilderment of a half-decade of uncertainty has found the perfect 100-second encapsulation of all those swirling emotions in a...
When Lawson Deming and an assembled crew returned to Quixote Studios in Los Angeles to film the show’s latest round of exploding objects, they arrived to find there was still proof of their last visit, lodged in a spot high above them.
“When we walked onto the stage, we hadn’t been there in two years. We still saw bits of debris embedded in the ceiling from the last time we’d been there. That stuff goes everywhere,” Deming said.
For anyone who’s taken the plunge on the Paramount+ original since its 2017 premiere, that will be a familiar sentiment. A show channeling the rage and bewilderment of a half-decade of uncertainty has found the perfect 100-second encapsulation of all those swirling emotions in a...
- 8/24/2021
- by Steve Greene
- Indiewire
“Ted Lasso” premiered on Apple TV+ in August last year where the optimistic Ted (Jason Sudeikis) adapts to the rules of soccer and English culture in his new job as coach of a Premiere League Football club. Scroll down to watch our 15 exclusive in-depth video interviews with top Emmy contenders.
The series was created by Sudeikis, series star and writer Brendan Hunt, writer Joe Wright and “Scrubs” creator Bill Lawrence. Directors Zach Braff and M.J. Delaney received DGA nominations earlier this year. Lawrence told Gold Derby, “We were joking and said if any of us met Ted Lasso in real life, the world had gotten so cynical, my initial assumption would be, ‘I’ll wait a week and this guy would reveal himself as an absolute jackass like everyone else.’ What we think the show about is a week later if he proves to be that empathetic, forgiving, kind and sincere person that you prejudged,...
The series was created by Sudeikis, series star and writer Brendan Hunt, writer Joe Wright and “Scrubs” creator Bill Lawrence. Directors Zach Braff and M.J. Delaney received DGA nominations earlier this year. Lawrence told Gold Derby, “We were joking and said if any of us met Ted Lasso in real life, the world had gotten so cynical, my initial assumption would be, ‘I’ll wait a week and this guy would reveal himself as an absolute jackass like everyone else.’ What we think the show about is a week later if he proves to be that empathetic, forgiving, kind and sincere person that you prejudged,...
- 6/29/2021
- by Matt Noble
- Gold Derby
“Comedy doesn’t have to be completely cynical,” reflects visual effect supervisor Lawson Deming about “Ted Lasso.” For our recent Gold Derby exclusive video interview, he continues, “When it hit there were feelings and fears people had in the world. Having something that was inspirational, uplifting and earnest was the right way to do it.”
In “Ted Lasso” for Apple TV+, the optimistic Ted (Jason Sudeikis) adapts to the rules of soccer and English culture in his new job as coach of an English Premiere League Football club. Deming reveals for the big football matches “they were just playing in a practice field. They weren’t even playing to an empty stadium; they were playing to no stadium. We built not only the crowd but the stadium around them. They had production lights in the shot. Particularly when it was raining those lights were glaring into the lens. We would...
In “Ted Lasso” for Apple TV+, the optimistic Ted (Jason Sudeikis) adapts to the rules of soccer and English culture in his new job as coach of an English Premiere League Football club. Deming reveals for the big football matches “they were just playing in a practice field. They weren’t even playing to an empty stadium; they were playing to no stadium. We built not only the crowd but the stadium around them. They had production lights in the shot. Particularly when it was raining those lights were glaring into the lens. We would...
- 5/11/2021
- by Matt Noble
- Gold Derby
It was a very good year for VFX in television, as evidenced by the five nominated shows in the special visual effects category. “Game of Thrones,” “The Man in the High Castle,” “The Orville,” “Star Trek: Discovery” and “The Umbrella Academy” all showcased truly cutting-edge, imaginative storytelling elements added by artists during the post-production process. Relying on the latest technological advances and tools allowed the teams behind these series to better plan out and then execute everything from elaborately choreographed battles in outer space to fire-breathing dragons, to the destruction of the Statue of Liberty.
“Game of Thrones”
(HBO)
The blockbuster fantasy epic, nominated for its visually ambitious penultimate episode, “The Bells,” presented lead visual-effects supervisor Joe Bauer and his team several challenges, but “the biggest was building out, and then destroying King’s Landing,” he says. Using new technology — photogrammetry for digital scanning to produce 3D models of old town Dubrovnik,...
“Game of Thrones”
(HBO)
The blockbuster fantasy epic, nominated for its visually ambitious penultimate episode, “The Bells,” presented lead visual-effects supervisor Joe Bauer and his team several challenges, but “the biggest was building out, and then destroying King’s Landing,” he says. Using new technology — photogrammetry for digital scanning to produce 3D models of old town Dubrovnik,...
- 8/12/2019
- by Iain Blair
- Variety Film + TV
“Nowadays, you really can do almost anything with visual effects, but it’s a factor of your budget and your time and there’s never enough of either,” Lawson Deming explains in his exclusive interview with Gold Derby (watch the video above) about serving as the senior visual effects supervisor on “The Man in the High Castle.” Deming is nominated at the Emmys again for Best Visual Effects, specifically his company Barnstorm VFX’s work on the third season finale “Jahr Null,” which climaxes with the Statue of Liberty destruction that he cites as “the most ambitious sequence we’ve ever done on a show.”
SEEhow Amazon campaigned its shows to the Emmy voters.
“Jahr Null” includes 50 to 60 effects shots, which is well below the academy’s 100-shot criterion for Best Visual Effects contention and is illustrative of why Deming has petitioned the academy (unsuccessfully) to move “The Man in the High Castle...
SEEhow Amazon campaigned its shows to the Emmy voters.
“Jahr Null” includes 50 to 60 effects shots, which is well below the academy’s 100-shot criterion for Best Visual Effects contention and is illustrative of why Deming has petitioned the academy (unsuccessfully) to move “The Man in the High Castle...
- 8/7/2019
- by Riley Chow
- Gold Derby
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