News Stories

3D reboot of Texas Chainsaw Massacre being promoted at Cannes

5.12.2011

[By Rene Thurston, Riverside Horror Movie Examiner]

Continuing the trend of 3D which has permeated theaters in the past two years, Lionsgate announced on May 9th that they will begin production on The Texas Chainsaw Massacre 3D in June.  The company has also negotiated to make up to six future sequels in the popular series, spawned from the original 1974 Tobe Hooper classic.

Lionsgate is collaborating on the production with Nu Image, with Lionsgate handling US distribution while Nu Image is at the Cannes Film Festival, which runs from today, 5/11 through 5/22, promoting international sales.  With Lionsgate claiming that the latest Saw 3D will be the last for that series, The Texas Chainsaw Massacre franchise may be the vehicle they’re looking for as a competitive replacement.

John Luessenhop, director of the hit Takers, is in talks to direct the story of a group of teenagers who stumble upon a family of cannibals, headed up by a dead-flesh-mask-wearing, chainsaw-wielding maniac, living in the middle of nowhere.

See the original post here:  http://www.examiner.com/horror-movie-in-riverside/3d-reboot-of-texas-chainsaw-massacre-being-promoted-at-cannes

Horror Film ‘Amityville: The Legacy 3D’ in Development

5.12.2011

[by AceShowbiz.com]

A spin-off to 1979’s film “The Amityville Horror” is in development. Hannibal Classics has announced that they are currently developing ““, a big screen version of John G. Jones’ novel “Amityville: The Evil Escapes”. 

The horror movie will be produced by Richard Rionda Del Castro and Paul Mason, who co-produced 2005’s ““, a remake to the original film of the same title. Steve B. Harris will join Del Castro and Mason as producer, in addition to serving as the scribe along with Andrew Helm. The production is expected to start this fall to meet the 2012 release schedule. 

The plot detail, issued in a press release via Hannibal Classics’ official site, says that the story opens with six priests coming into an abandonedhouse. Unfortunately, Father Kibbler, the youngest priest, is attacked by an unseen demon after he followed a sound into the attic. Leader priest Father Manfred comes to help him and combat the demon, making the attic erupt. 

Thirty years later, a family comes to the house to take care of their nephew and niece. However, the peaceful moment ends when their family’s cat is found slaughtered in the attic, and an evil presence haunts the house.

See the original post here: http://www.aceshowbiz.com/news/view/00040465.html

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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