A young child faces a strange presence in the aftermath of his father’s death. Years later, after he has grown up to become an adult, that presence returns once more in the form of a liquid spectral doppelgänger. Director Alex Cook’s music video/short film hybrid Undertow thematically and narratively captures the dark yet warming essence of Son Lux’s singular music and is grounded by an impressive central performance from Jongman Kim, who carries the emotional and psychological weight of the protagonist’s unsettling history into each scene. Dn caught up with Cook to talk through his continuing fruitful collaboration with Son Lux, covering everything from the creation of the graceful VFX work, the inclination to capture the murky uncertainty of contemporary life in his screenplay, and the challenge of managing production when a key crew member had to be replaced at the eleventh hour.
The film...
The film...
- 1/10/2023
- by James Maitre
- Directors Notes
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
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