DIVE delivered 145 shots as lead VFX house and provided Digital Intermediate Services on Director Brad Parker’s “Chernobyl Diaries“, which premiered nationally on Friday, May 25.nnParker selected DIVE (www.divevisual.com), led by VFX Supervisor Mark O. Forker, to supervise effects on his dark thriller including environmental changes, 3D set-extensions, and CG radiation effects. The film was shot mostly via handheld camera in Serbia with additional time in Budapest. It was imperative to Parker that DIVE re-create the post-nuclear disaster area as authentically as possible.nn”Mark and his team at DIVE did a phenomenal job on the film,” says Parker. “He and I go way back and we’ve worked together on many projects, so he was my first choice to handle “Chernobyl Diaries.” I knew I could trust DIVE to do great work and Mark’s presence on-set in Serbia and Budapest was invaluable.”nn
nnDirected by Parker and produced by Oren Peli (“Paranormal Activity”) and Brian Witten (“Final Destination”), “Chernobyl Diaries” is about a group of friends who embark on an “extreme tour” to Pripyat, the town previously populated by the Chernobyl nuclear reactor workers and their families. The group gets more than they bargained for when they realize that they are not alone.nnDIVE’s main task was to tie the Serbian locations to the film’s actual historical markers in the Ukraine. One challenge was the set extension of a Ferris wheel. The tracking of the wheel was complicated since it appears in scenes shot without cranes or tripods to stabilize the camera.nn”Production design completed approximately one-eighth of a practical piece of the Pripyat Ferris wheel as planned and DIVE’s task was to create the rest— either wholly, in slivers, or suggestions of it— throughout the film,” says Forker. “It was so important to nail the extension—the wheel is an iconic image of the abandoned city itself and it helped to ground the film in its location.”nn”It was essential that viewers believe the film is taking place in the city of Pripyat,” says Parker. “Mark and his team were crucial to creating that realism and they succeeded.”nnDIVE also needed to manipulate the physical environment to reflect the mood of the film. While the team subtly dimmed the skies and removed light sources, interior and exterior shots were also darkened to highlight the desolation of Pripyat, making the city as dark, foreboding and isolating as possible.nnSince DIVE was also the DI house for the project these types of color adjustments went very smoothly between the VFX and DI departments. “Doing the DI and the VFX all under one roof has proved very efficient and economical for our clients”, says Forker. On this project it was particularly beneficial because of the tight schedule.”nnDIVE next managed the effects of radiation sickness on the inhabitants of Pripyat and its visitors. The “humanoids” were originally shot dressed with prosthetic make-up. DIVE was then tasked with continually altering the lighting on the actors to heighten their haunting qualities. Radiation sickness was added to two of the principal actors leading up to the climax of the film, which included a gradual facial degradation by incorporating burnt and peeling skin textures. Finally, mutated CG fish were added to a scene and patches were added to dogs to make them look further along in their state of radiation sickness.nn”Chernobyl Diaries” premiered nationally on Friday, May 25, 2012.nnCREDITS nTitle: Chernobyl Diaries: nDIRECTOR Brad Parker nPRODUCER Oren Peli nPRODUCER Brian Witten nDISTRIBUTOR Alcon Entertainment/Warner Brothersn nDIVEnVFX SUPERVISOR Mark O. Forker nCOMPOSITING SUPERVISOR Edwardo Mendez nLEAD 3D ARTIST Jeremy FernslernDIGITAL COMPOSITORS Anton Moss, Colton Miller, Matthew Robertson, Tyler LockardnDIGITAL PAINT ARTIST Ruben RodasnVISUAL EFFECTS EDITOR Bryan BakernVISUAL EFFECTS EDITORIAL ASSISTANT Dale Jacobs nVISUAL EFFECTS COLOR GRADER Janet Falcon nVISUAL EFFECTS EXECUTIVE PRODUCER Bob Lowery nVISUAL EFFECTS PRODUCER Tom QuinnnVISUAL EFFECTS COORDINATOR Jennifer WessnernVISUAL EFFECTS INTERN Drew BeeklernnAbout DIVEnBased in Philadelphia, PA, DIVE (www.divevisual.com), is the visual effects, DI and film finishing division of ShootersINC (www.shootersinc.com), led by veteran Visual Effects Supervisor Mark O. Forker. As one of the east coast’s premier postproduction facilities for film finishing services, DIVE offers filmmakers the opportunity to complete Visual Effects, Digital Intermediates and Titles by coupling creative continuity with an integrated workflow. For more information, contact DIVE VP Business Development Bob Lowery via email./a> or Executive Producer Andy Williams at 267.514.7700 or via email.
Contact:
Bob Lowery, VP Business Development DIVE 267.514.7700 Contact Bob via email./a>
Contact:Andy Williams, Executive Producer DIVE 267.514.7700 Contact Andy via email./a>
SPW Category:Visual Effects and Animation
Creatives from Nat Geo’s “Sally,” A24’s “If I Had Legs,” Bleeker Street’s “The Wedding Banquet” and More To Speak at The Inaugural “Behind the Camera House” in Park City during Sundance 2025
Sundance 2025 Behind the Camera House
The first-ever “Behind the Camera House” will launch in Park City during this year’s 2025 Sundance Film Festival, inviting industry professionals, creatives, and media to engage in a day of community building through meaningful conversations, insightful panel discussions, and unique networking opportunities on Monday, January 27, 2025. Produced by Impact24 PR, co-hosted by Goodside, and led by programmer Jocelyne Roman, the event will take place at 1167 Woodside Ave, Park City, UT 84060. This one-day activation will serve as a dedicated space for creatives to hang out and connect with other festival attendees and the filmmaking community, with special attention and spotlight towards behind-the-camera crafts including picture editing, composition, sound design, costume design, and production design. The event will also give attendees an inside look at the creative processes behind the films featured at the prestigious Sundance Film Festival with exclusive panels. Showcasing industry leaders, filmmakers, and creatives from across the globe, each panel promises to be a deep dive into the artistry and craftsmanship of contemporary cinema. The day begins at 10:00 a.m. MT with the Behind the Camera House Breakfast, co-hosted by panelists from the first panel of the day – “Shaping the Narrative with Post-Production Artists.” The panel will showcase how creatives turn raw footage into compelling stories through artistry and innovation. Featured panelists include editors Brett W. Bachman, ACE (Rabbit... Read More
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