Saturday, May 19, 2007

Spots and Video Clips

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 LATEST NEWS !!!


James Cawley's WILD, WILD WEST series is beginning production, and Pony Horton just created and released this establishing shot depicting the Lincoln White House in 1865.



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This shot was based directly on Matthew Brady's image of the same era, and was created using Photoshop, LightWave 3D, and After Effects.



Pony Horton and Gravity Arch Media are proud to have been a part of the new documentary film RESCUE MEN - THE STORY OF THE PEA ISLAND LIFE SAVERS.

RESCUE MEN has garnered numerous film festival awards, including Winner of the San Francisco Film Festival 2011.


One of our jobs was creating the title sequences from the film. Here is the Opening Title Sequence...

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To learn more about the film RESCUE MEN, or to purchase a DVD copy, click http://www.rescuemenfilm.com/




ST Phase II banner

Pony R. Horton, owner of Gravity Arch Media, is pleased and honored to have been chosen by the Cawley Entertainment Group to create new visual effects for their smash-hit web series, STAR TREK: PHASE II !

After loving STAR TREK since 1966, it's a thrill to finally become "One of The Family!"
To read a new article all about how Pony re-created the iconic Transporter effects, visit this link... http://www.startreknewvoyages.com/feature004.html

And be sure to visit the rest of STAR TREK: PHASE II's website, at...
http://www.startreknewvoyages.com/


Well, as of July, 2011 we are finishing visual effects on our sixth episode of STAR TREK: PHASE II. We are also in the early phases of effects for the newest episode, MIND-SIFTER.

So far, our work, from Transporters to matte paintings to set extensions to phaser hits and other visual effects that make STAR TREK unique, has been (or will be) seen in the PHASE II episodes:

Blood & Fire Parts 1 and 2

Kitumba

Enemy: Starfleet

Origins

The Child

Mind-Sifter

Below are a few of the latest shots from the recently released ENEMY: STARFLEET, starting with a special treat for those of us who've loved STAR TREK since The Original Series... Engineering finally gets its Warp Core!

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And here is a special SNEAK LOOK at a new matte shot for the upcoming episode ORIGINS, the story that takes us back to young Jim Kirk's days at Starfleet Academy.



My thanks to James Cawley for allowing myself and Gravity Arch Media to post these clips, as well as becoming a member of the STAR TREK family!

Here is a clip from the episode KITUMBA, which wrapped principal photography in June, 2009. Pony Horton, owner of Gravity Arch Media, was on hand as Visual Effects Artist for the show. This clip is a PRELIMINARY test matte shot of Kirk, Uhura, and Chekov beaming-down to the Klingon home world, Qo'nos.






Here are a few of Gravity Arch Media's spots and production clips.




Below is a splash-screen teaser for the website of mystery writer
Stuart M. Kaminsky, famous for his Toby Peters novels, as well as his other sleuth characters: Abe Lieberman, Rostnikov, and Lew Fonesca. He has also published novels featuring Jim Rockford (THE ROCKFORD FILES) and CSI: New York.
This was shot as a form of screen test for Pony Horton's portrayal of the Toby Peters character in an upcoming long-form commercial for Baron Hats. For further information about Toby Peters, Mr. Kaminsky, and his mysteries (he is an Edgar Award winner) visit his website, www.stuartkaminsky.com



Gravity Arch Media has begun production on a documentary focusing on the life and work of Stuart M. Kaminsky, tentatively titled
"STUART KAMINSKY: Man of Mystery"
Below is a funding trailer from the film, currently in production. Scenes and clips of Stuart were shot at the 2008 Pima Writers' Workshop in Tucson, Arizona. Scenes of Peter Kaminsky were shot in Chicago in 2010.

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Gravity Arch Media and Pony R. Horton wish to thank Stuart and Enid Kaminsky, and Peter Kaminsky, for their generous time, and Meg Files of Pima Community College for allowing our participation in their event!






Here are a couple of CGI shots created for Baron Hats' latest promotional video. These show a rapid journey over the Earth from the home office in Burbank to the new offices in New York City, and in the second shot, we fly from New York to Paris, France, in a somewhat stylized shot, featuring Baron's new neon sign logo dominating the world.






And here is the final film we produced for Baron in which the above shots appear.
This film was intended for in-store use only.

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Here is a test shot of a visualization of The Big Bang. This is a low-rez file, done with Photoshop and Lightwave.






Venturing further into 3D Land, Gravity Arch Media recently produced this short clip, below, of CGI footage as a form of "background plate" showing a floor-by-floor ascent in the cage-type elevator of The Farraday Building, fictional home of private investigator Toby Peters, beloved mystery sleuth character of award-winning author Stuart M. Kaminsky. Toby Peters stars in 25 novels, all set in Los Angeles of the early 1940's. Gravity Arch Media is proud to be associated with Stuart Kaminsky, and you can find this clip on the Toby Peters section of his website, www.stuartkaminsky.com







Here is a Hi-Rez still of the same scene, from a different angle.






And here is the first finished shot from Gravity Arch Media's current production, a long-form spot for Baron Hats, featuring Toby Peters. Here we see Toby descending in the Farraday's elevator.



Here are two tests I created for a company logo in 3D. Simple, low-rez stuff.












Above is a spot we produced for Fountain of Grace.

Below are two tests of transporter effects from STAR TREK (Original Series) and STAR TREK: The Next Generation.
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And here is another test of the Star Trek transporter effect, this time at Vasquez' Rocks... er, uh, we mean "Cestus III."

The interesting part of this effect is the fact that the second man walks right up behind the one who is being "beamed" as the effect is happening, and you can see through the transportee to the action beyond. Normally, the easy way to do this would be against a Greenscreen, but we decided to "up the ante" a bit and shot it live, on location, IN ONE SINGLE PASS. We did not use two separate takes and matte them together, nor did we compress the time in the take. Unfortunately, the "sparkle" effect is digitally-created flat artwork, and so it lacks the hydro-dynamic effects of the originals, which were achieved by high-speed filming of Alka Seltzer in hot water. Of course, we had to make this scene at least A LITTLE silly...


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