Sina San has been appointed creative director at FuseFX, working out of the effects studio’s Los Angeles headquarters, and serving concept design and art direction to global clients.
San brings more than 17 years of experience in visual effects and computer animation to her role at FuseFX. In addition to winning the Emmy Award in 2017 for Outstanding Visual Effects in a Supporting Role for the television show “Gotham,” San was also nominated for the Emmy in 2015 and 2018 for her work and creative vision on “Gotham.” Some of her other credits include “Westworld,” “Transformers: Dark of the Moon,” “Alice in Wonderland” and “Marvel’s Agents of S.H.I.E.L.D.”
Her career began in video games where she was a 3D artist working on titles and credits for “Star Trek: Dominion Wars,” “Shrek Super Party” and “Sponge Bob Square Pants: Battle for Bikini Bottom.” She then joined In-Three, a software technology company that developed stereoscopic 3D, where she trained 100+ VFX paint artists in India for Reliance Media Group. Later, San joined Digital Domain’s matte painting department. In 2012, San came aboard CoSA VFX where she played a significant role in growing the company in the United States and Canada.
Joseph Bell, chief operating officer and EVP of production at FuseFX, said, “Sina is a master at taking material from script to screen, creating just the right mood, tone and aesthetic. She and her teams have an impressive track record of delivering striking visuals for award-winning television shows, feature films and commercials. Sina is also great at partnering with showrunners, visual effects supervisors and other filmmakers to realize their creative vision.”
San added, “Part of what stands out for me about FuseFX is the incredibly diverse projects and genres on which we work. There’s tremendous demand from our clients for imaginative concept work and strong art direction. At FuseFX, this comes hand in hand with a very robust pipeline capable of delivering feature-quality visual effects on even the most aggressive television schedules.”
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
The one rule to follow is that... Read More