The latest film I worked on is now in theaters, and with a record-setting global opening. I am very proud of the work our team did on the pre- and postvisualization at Third Floor, and highly recommend anyone seeing it before it is out of theaters. You can learn more about my experience on the film at my project page.
Recently new media has been posted about the Netflix film I did previs work on for Netflix. I've added all three trailers to its project page. It begins streaming in December. Enjoy!
Number eight in the Fast and Furious franchise hits American movie theaters this weekend. I went to the Hollywood screening last night, and highly enjoyed the follow-up to the massively successful Furious 7. You can read about my time on the project as Lead Previs Artist on the Fate of the Furious project page. I hope those visiting this page check it out on a big, loud theater screen, as it was intended.
The shots I presived in X-Men: Days of Future Past can finally now be seen in an alternate cut of the movie, now out on Blu-Ray.
Recently I was asked by my longtime friend, fellow Vancouver Film School grad, and producer-director-film critic (he does it all, folks) Paul Booth to do an interview with him for the online film site Influx Magazine. I've included a link to the full article at the bottom.
"Josh Lange has worked on some very impressive video games and he’s been part of some amazing studio pictures. For me, it’s Josh’s integrity and consummate professionalism that made him an ideal candidate for this series. Josh also has a respect for movies of the past and present before Star Wars or the prequel trilogy. We live in a time of cinema, where many people don’t respect the past. Josh knows his stuff.
Paul Booth: What films or life event made you want to make movies? Past just loving movies?
Josh Lange: The worlds and characters of the original Star Wars films triggered an intense fascination and passion in me early on when I was a kid. As my connection to those movies evolved, I began to learn about the methods developed by George Lucas and his visual effects crew to make their groundbreaking special effects. Since the visual effects were what really made those movie stand out, I started looking at other filmmakers with high standards for the field, such as Stanley Kubrick. I was also in love with the films of Walt Disney as a kid, and as my interests began bouncing between art, animation, movies, and visual effects, I started making small films and taking film courses through the local community college while I was in high school. Senior year I was officially hooked, and it was only a matter of time before I entered film school."
Link to the full article on Influx Magazine.com
The new Avengers trailer came out this week. A few of the shots I did previs for are in it, including the shot of the damaged flying jet (:56) and Thor reaching out for his hammer Mjolnir and catching it "Jedi style" (1:09). Check it out and let me know what you think.
I am a Visualization Supervisor and Senior Animator in Los Angeles with over eighteen years of experience crafting powerful, cinematic moments for the entertainment industry. Clients include Disney, Marvel Studios, 20th Century Fox, Universal Studios. Before my career in the film and advertising industry, I worked at Rockstar Games, where I was a Senior Animator on Red Dead Redemption. I also illustrate and create visual art in my spare time.
WHAT IS VISUALIZATION?
Visualization is a process that allows a complicated production to be imagined in advance, usually with the use of computer animation. It is commonly used to help plan out sections of entertainment projects like films, television shows, commercials, VR experiences, and theme park rides.
An example of visualization in action is "previsualization" artists using 3D software to animate an early version of a feature film sequence that will rely on complicated visual effects. The extra amount of detail provided by this first pass of the sequence is a crucial blueprint for the director, cast, and crew once production begins.
After the film is shot, "postvis artists" use software to finish a rough pass of incomplete shots that feature bluescreens and other stand-in material. These updated shots become clear enough for editors and test audiences to follow the action of the film, so studios can get a sense of what is working as a film evolves in post-production. By the time the final VFX are finished, the previs and postvis work is fully replaced, with no trace left for audiences other than the guide for compositions and timing that only a team of skilled visualization artists can quickly provide.