In "Star Trek," vfx supervisor Roger Guyett needed to help the audience stay oriented in an adventure that jumped between planets, time periods, even parallel universes.
Editors love to tell stories about how they pieced together what looked like disastrous takes to save an actor's performance -- or win that thesp an Oscar.
Movie mayhem combines complex physics, arcane math and massive amounts of computing power.
2016-2017 Oscar Predictions
We are used to seeing sci-fi in a highly polished way, not the way you would on CNN," points out editor Julian Clarke, describing how "District 9" used a doculike style to create the movie's…
Paramount's "Star Trek" reboot was filled with action -- though the root of its success can be traced to the fact that audiences identified with and were rooting for a young Kirk and Spock as they…
When first introduced, 5.1 surround sound was practically guaranteed to change the moviegoing experience. After all, with three extra speakers along with a subwoofer to carry a soundtrack's low end…
How can a mass of bits and bytes stomp its heavy metal feet on a sand dune filmed by Michael Bay? Or, how can an elegant combination of ones and zeroes touch an actor filmed by James Cameron? It…
Once it was a given that a soundtrack's volume and density wowed Academy voters. But no longer.
Cinema has had a deeply troubled relationship with creativity when it comes to putting it onscreen.
When the Academy opened up the best picture category to 10 films, the hope was that the final list would broaden beyond the usual high-minded dramas.
Kathryn Bigelow and Greg Shapiro talk about 'The Hurt Locker.'