Animal Logic Looks to Fill 300 Roles
(if.com.au) Visual effects and animation studio, Animal Logic is looking candidates for its new Vancouver animation studio due to open in late 2015.
The company is looking to fill around 300 roles across the production pipeline.
According to a company statement, the annual SIGGRAPH conference – August 9-13 in Los Angeles – represents an ideal opportunity for potential candidates to meet with Animal Logic’s recruitment team.
Animal Logic recruitment supervisor, Patricia Kung said the company was especially keen to hear from associate producers, production Managers, senior system Engineers, CG supervisors, software developers and technical directors.
“Siggraph is an important event for us and an important audience,” said Animal Logic’s Recruitment Supervisor
The LEGO Movie Sequel is scheduled to start production at Animal Logic Vancouver in January 2016.
Kung said the opportunities were not just in Vancouver.
Animal Logic’s Sydney studio is also looking to fill a significant number of key roles as it ramps up production on LEGO Batman and Ninjago, as well as its growing slate of Visual FX projects.
“From software developers to digital artists, the available positions at our Sydney, Australia, studio also represent an amazing opportunity for those currently working in the visual effects and animation industries,” Kung said.
12 photos Inside Sony Pictures Imageworks New Downtown Vancouver HQ
(vancouversun.com) Sony Imageworks revealed their brand new headquarters in Vancouver this week.
The visual effects arm of Sony Motion Pictures Group unveiled its new operations centre on Granville Street in downtown Vancouver on Wednesday with Premier Christy Clark and Mayor Gregor Robertson in attendance.
Sony Imageworks’ Vancouver location is the city’s largest visual effects and digital animation facility, covering 6,900 square metres and housing more than 700 artists. Sony Imageworks first opened an office in Vancouver in 2010 with a staff of 80.
“B.C. is thriving because we have a diverse economy and diverse markets — and tech is leading the way,” Premier Christy Clark said in a statement. “With a highly skilled talent base, attractive lifestyle and business climate, B.C. is increasingly a global destination for digital media giants.”
Sony Imageworks’ contributions in visual effects include the Spider-Man franchises, Disney’s Alice In Wonderland, sci-fi film Edge of Tomorrow, and animated film Hotel Transylvania.
Photos – Take a look: http://www.vancitybuzz.com/2015/07/sony-pictures-imageworks-vancouver-office-photos/
Hayao Miyazaki To Make Debut 3D CG Animation Film
(variety.com) TOKYO — Animation maestro Hayao Miyazaki confirmed that he is directing an animated short for the Ghibli Museum in Mitaka, Tokyo. This will be his first animation since completing “The Wind Rises,” a 2013 hit which he said would be his last feature.
The new ten-minute film, starring a hairy caterpillar, will be made in the 3D CG format, a first for the director, and take an estimated three years to complete. Miyazaki did not say whether the film will be shown outside the museum.
Miyazaki spoke to reporters at his studio Higashi Koganei, Tokyo. He dedicated most of his remarks to criticism of the Japanese government under Prime Minister Shinzo Abe.
Gameloft Closes Their NYC Studio, Lays Off All Development Staff
(toucharcade.com) I think it’s fair to say that Gameloft has been one of the most important publishers in mobile gaming’s brief history. They were going big into making mobile phone games before most, and although a lot of their earlier efforts were pretty blatant riffs on popular console and PC games, you still have to give them credit for the amount of effort they put into those games. But the times have changed, and the App Store even more so. The type of games Gameloft made best don’t sell the way they used to, and I think it’s fair to say the company has, like many, struggled to keep up with the movement of the market. There’s only so long that can go on before something terrible happens, and I suppose yesterday was that day for Gameloft’s New York City offices.
According to a report on Gamasutra which cites a now-deleted Facebook post from Gameloft NYC lead programmer Kevin Chen, production at the NYC offices has ceased and all development personnel have been laid off. As many as 100 people lost their jobs yesterday, effectively dissolving a development studio that has produced a bunch of best-selling games over the last 15 years, including one of my recent favorites, Spider-Man Unlimited [Free]. Gameloft has a number of other development studios around the world, of course, but it’s awful to see any developer shuttered, no matter how big or small they may be.
Let’s hope everyone who worked at Gameloft NYC who finds themselves out a job today can land on their feet somehow. Spider-Man Unlimited is probably one of my most-played mobile games since its release, and I know I’m not the only Spidey fan who loves it. Each and every person who worked on it deserves an ultra-coveted TouchArcade Most Spider-Mans Of A Lifetime award, and if you’re going to enjoy some celebratory vermouth, you might want to make it the non-metaphorical kind today. Best of luck to all the folks at or formerly at Gameloft during these difficult times.
Weta Workshop Built on ‘The Hobbit’ Tech to Create ‘Warcraft’ Weapons
(slashfilm.com) One of the best things about Comic Con is getting up close and personal with objects and costumes designed for many films. Weta Workshop is here with artifacts from Duncan Jones‘s film Warcraft, for example. While waiting to speak to Jones at Legendary’s preview night event, I got a few minutes of private conversation with Richard Taylor, the Weta Workshop founder and creative director whose work with armor and weapons gave such weight to the Lord of the Rings movies.
The work Taylor and Weta have done for Warcraft is spectacular. You can see evidence above — that shot is of a statue of Dominic Cooper’s character King Llane Wrynn, unveiled this evening. We’ve got more shots of Weta’s armor work below, along with a nice chat with Taylor. The armor master says that new digital-enhanced techniques saved the day on Warcraft.
Taylor also brings up Krampus, from Trick R Treat director Michael Dougherty, for which he says about 80% of the effects are practical.
What was the overall approach to Warcraft?
It was terrific for us, because naturally people thought that the film would be significantly digital. But you have two protagonists — you have these equal armies, almost, and you want to tell those two stories. The way to tell the human story is through human actors. That required armor and weapons to be built, which was a joy for us. We’d done some early development with Duncan and Stuart on a previous movie, and that’s how we got to know them. So when Legendary asked us to do this, and connected us with Duncan, you can imagine how extraordinarily excited we were.
The approach, luckily this director has a very strong vision, and he was armed with a studio that would support him and encourage the ideas he had. Initially, the armor was a real challenge, because in the game the human-proportioned armor is significantly off. So there was a little bit of design process to get people through prototyping to understand what was possible. Building the armor to be as significant as possible while still having someone be able to wield a sword.
The test we always use, as crude as it is, is that an actor has to be able to clap their hands in front of their bodies, because that means that they can hold the sword, and wield it above their head. If they can’t do that, it’s because the armor is too encumbering. And you can’t allow the design of the armor to overwhelm the performance of the actor. Otherwise, halfway through the shoot, the actor is going to become disengaged from the armor. These things are really important.
But the design process was a joy, the designs came to us mostly finished and we got to build them. Thankfully, for the last I guess twelve or thirteen years we’ve been investing in digital modeling technology, 3D printing, milling machines. Lord of the Rings was 100% hand-built. The Hobbit was 60% manufactured by robots. The technology that we developed for that film we were able to bring heavily to bear on this.
3D printing and milling, really, milling saved our ass on this. The product requires such a perfect finish. Perfect symmetry. If you look at the Lion shields, the swords, it was never going to be possible through hand-sculpting, in the time that we had. You could arguably do everything that the machines can do, but you could never do it in the time.
Full article with pics: http://www.slashfilm.com/richard-taylor-warcraft-interview/
Boston Film Tax Credit Survives Attack – Zero VFX Keeps 25% Discount
(bostonglobe.com) A controversial state tax credit for the film industry has proved once again to be invincible.
The Legislature rebuffed efforts by Governor Charlie Baker to kill the subsidy. The governor had wanted to use the savings to finance an expansion of a tax credit for low-income workers.
Like his predecessor Deval Patrick, Baker had criticized the film tax credit as a wasteful giveaway that did not generate enough economic activity in Massachusetts to justify the tens of millions in revenue lost to the state treasury.
“My view has been that the subsidy is not worth the value of the return,” Baker said Wednesday. “There are clearly people in the Legislature who disagree with me, but, as I said before, that’s politics. That’s government.”
Baker’s loss, though, is a coup for the thousands of film workers and related professionals who said its elimination would disrupt the burgeoning industry and threaten their livelihoods. They organized a lobbying campaign that included testifying at public hearings, social media call outs, and personal appeals to legislators.
It didn’t hurt that those workers had a well-placed supporter in their corner: House Speaker Robert DeLeo.
“We feel that it’s good business,” DeLeo said Wednesday as the Legislature wrapped up negotiations on the state budget for fiscal 2016, which began July 1. “I know I’ve talked to small businesses throughout the Commonwealth who say when films are made in that particular district, how valuable they can be.”
The Massachusetts film tax credit equals 25 percent, with some exceptions, of the costs and salaries for films, commercials, and television shows shot in the state.
Under Patrick, the Department of Revenue issued a series of reports concluding that the film tax credit did not yield much economic benefit.
For example, Massachusetts paid out an estimated $77.8 million in credits in 2012 that generated $304 million in spending by movie, television, and advertising productions. However, the department said, two-thirds of that spending took place outside of Massachusetts; $101 million occurred in the state.
From 2006 to 2012, the program created the equivalent of about 5,500 jobs, the tax agency said, but each job cost the state approximately $118,000. In that time, the state doled out almost $411 million in film credits.
But some in the industry said the state’s analysis does not reflect the reality at their companies.
Brian Drewes said business generated by the tax credit helped his visual-effects company, Zero VFX, grow from a small operation in a Newton basement to a 12,500-square-foot space in the Back Bay, with 55 artists working on films and commercials.
“What you see is a groundswell saying that this does have an economic impact on the city that is beyond what the Department of Revenue reports like to mention,” he said. “When you actually start to track reality, you see all the people with stories like mine.”
Pixar Reveals Evolution of Troubled Toon ‘The Good Dinosaur’
(Variety.com) “At Pixar, we ask a lot of ‘what ifs,’” the studio’s Pete Sohn told a crowd of cartoon devotees (a mix of animation students, professionals and fans) at France’s Annecy Intl. Animated Film Festival: “What if the toys come to life when we leave the room? What if the monsters really were real inside the closet? What if a rat became a world-famous French chef?”
So far, those hypotheticals have yielded “Toy Story,” “Monsters Inc.” and “Ratatouille,” respectively, but according to Sohn, “With (‘The Good Dinosaur’), we would ask the biggest ‘what if’ of all.” With that, he cued a clip in which a gigantic asteroid misses the Earth, narrowly averting a mass extinction event: What if instead of being wiped off the Earth, dinosaurs had continued to evolve?
That’s the hypothetical that audiences will see answered when the film opens later this year, just in time for Thanksgiving, on Nov. 25. But internally, Pixar was asking another question: What if you scrap the original director of your upcoming dino movie and plug someone new in his place? In this case, Peter Sohn replaced “Up’s” Bob Peterson — the similarity between their names providing an added irony to the swap.
Of course, “The Good Dinosaur” is hardly the first Pixar movie to get a massive overhaul in production (“Toy Story 2,” “Ratatouille” and “Brave” were all repair jobs of some sort, losing their original directors along the way), but it could be the riskiest. Sohn’s only previous helming credit was 2009’s “Partly Cloudy” short, and though the Korean-American animator is a favorite among his Pixar peers, inspiring the character of Asian boy scout Russell in “Up,” this project put an enormous responsibility in his relatively untested hands.
Full article: http://variety.com/2015/film/festivals/annecy-pixar-reveals-evolution-of-troubled-the-good-dinosaur-1201521429/
Star Wars: Rogue One Begins Filming Soon, Lucasfilm Confirms
(ign.com) Star Wars’ first Anthology film, Rogue One, begins shooting in three weeks, according to Lucasfilm’s Kathleen Kennedy.
Star Wars: Rogue One is the first Star Wars Anthology film, and it’s about the Rebel Alliance stealing the Death Star plans from the Empire. It’ll be filmed in 6K. The second Anthology movie centers on a young Han Solo.
How the Most Realistic Robot in Cinema History Was Made
(gizmodo.com) Entirely computer generated characters are now an established part of the Hollywood blockbuster. The likes of Guardians of the Galaxy’s Rocket and Groot are increasingly commonplace – just don’t mention Jar Jar Binks. Perhaps the high watermark for CGI success so far though (at least when you’re talking about silver-screen robots) is Chappie, which came out earlier this year
The film told the story of Dev Patel’s Deon Wilson, an engineer at a South African weapons manufacturer, who figures out how to make the firm’s police robots think for themselves – just like a human. Unfortunately, the eponymous robot (played Andy Serkis-as-Gollum style by Sharlto Copley) ends up getting kidnapped and falls in with a bad crowd of gangsters. Worse still, the authorities decide that Chappie is a danger who must be stopped.
The thing that is really striking about the film is just how good the visual effects are, with CGI robot characters seamlessly blended in with the ‘real’ characters. So how was it done? To find out I had a chat with the film’s visual effects supervisor Chris Harvey, who explained the reason why blending in was so important to making the film work:
“Ultimately the goal of any visual effects is that it is blended seamlessly. My mandate with the team was really that was only step one with what we had to do. It’s like he has to be 100 per cent believable, because as soon as he isn’t the whole point of Chappie – that he’s a character you’re supposed to connect with emotionally – […] he’s supposed to register like any other character. As soon as we break any realism in terms of him blending, you’ll immediately lose that connection.”
It wasn’t easy to achieve though. To make Chappie work, Chris and his team joined the production early in development, much earlier than VFX would usually get involved.
3D Printed Robots
“Typically what will happen with visual effects is that someone will design it practically, build it and we will have to replicate it. And we’re going to be stuck with whatever decisions they made, whether that’s good or bad for us. Chappie was different because we actually came on very early and were part of that design process.”
Full article: http://www.gizmodo.co.uk/2015/07/how-the-most-realistic-robot-in-cinema-history-was-made/
How Photoshop Changed the World
(pcauthority.com.au) It’s hard to believe there was no Photoshop before 1990. Its impact has since been magnified by the rise of digital photography and social media, and continues through an endless variety of rival products, but for a quarter of a century we’ve been living in the Photoshop age.
“Photoshop changed the ontology of the photograph,” said Caroline Bassett, a professor of media and communications. “It revolutionised our sense of the relationship of the photographic image to the reality it remade. Before Photoshop, it was easier to believe a photograph captured the truth. After, we knew it was constructed. I think it’s the single most influential software package of the PC era.”
This judgement would have surprised University of Michigan postgraduate Thomas Knoll when he began coding a graphics tool on his Mac Plus in 1987. “Painting” programs existed for the Mac and other early PCs, but Knoll’s PhD was in computer vision. His brother John was working for George Lucas’ visual-effects company, Industrial Light & Magic (ILM), and their father, Glenn, had a darkroom in their basement. Coming at bitmap editing from this fresh angle, they first sold their application bundled with some of the newfangled scanners.
Before long, John had struck a deal with Adobe, which had just catapulted the Macintosh into the graphics business thanks to the Adobe LaserWriter printer. Priced at less than US$1,000 at launch – half the price of Letraset’s ColorStudio software – Photoshop appealed to users who had latched on to the Mac as a way to get into cutting-edge creative work at a fraction of the cost. Previously, photo retouching had been performed by bureaux on six-figure workstations from companies such as Quantel and Scitex, charged at a going rate of $400 per hour. Now, in-house art staff could attempt it with Mac setups costing as little as $10,000 – and pros and amateurs alike could begin to invent new kinds of images.
Read more: http://www.pcauthority.com.au/Feature/406418,how-photoshop-changed-the-world.aspx#ixzz3fmqqS8cS
Warner Bros. to Give that Green Lantern Movie Thing Another Try
(avclub.com) Along with the similarly timed and equally reviled Jonah Hex, 2011’s Green Lantern movie was one of Warner Bros. and DC Comics’ first attempts to ride the current wave of superhero movies and get a non-Superman or Batman-based comic book franchise off the ground. But the film’s box office failure—barely making back its $200 million budget, most of which appears to have been spent on slathering bright green CGI on every available surface—seemed to have killed those dreams. Until now, anyway.
As part of Warner’s Comic-Con panel today, the studio announced that it was giving Green Lantern another shot. We don’t have any casting details or release dates yet—the announcement was done via a concept art reel, smashed in between footage of Hugh Jackman’s Pan and the new Suicide Squad trailer—but we do have a name: Green Lantern Corps. That name implies a more team-based film, raising the possibility that Green Lanterns beyond series protagonist Hal Jordan, like Guy Gardner, John Stewart, and newbie Kyle Rayner, might all get a chance in the big green spotlight. In any case, it’s unlikely that Green Lantern star Ryan Reynolds will be reprising his role in the film, because he’s busy with Deadpool, and also because he already said that he really doesn’t want to.
32TEN Studios Creates Practical Effects for Jurassic World
(cgw.com) The most prominent were the gates that welcomed visitors to the prehistoric theme park Jurassic World. Those gates, which needed to appear massive on screen, were actually “miniature” 19-foot set pieces built at 32TEN under the supervision of model maker Mark Anderson.
While the size of the piece was nothing new for 32TEN model makers, Jurassic World director Colin Trevorrow and Industrial Light & Magic (ILM) VFX Supervisor Tim Alexander wanted to make sure the doors looked exactly as imagined. “It took a while to get the exact look for the concrete and the aging of the wood,” explains 32TEN Studios Executive Producer Tim Partridge. “But, after a couple of go rounds they looked great.”
Once designed and built, the double doors were mechanized with motion control in order to open at exactly the right time to let the monorail pass through. The gates were set up on the main stage at 32TEN and shot using the motion control system to ensure the effects shots matched the location shots.
The flames for the torches on the gate pillars were shot separately, each with its own motion-controlled move, for later compositing.
“Colin felt it was important for the gates to be real,” explains ILM’s Alexander. “32TEN did a great job building them.”
Trevorrow and Alexander also tapped 32TEN Studios to shoot a number of practical scale explosion elements, green screen shots with extras and stuntmen, background plates in northern California locations, and a handful of other practical elements to fill shots, particularly when the elements were near the camera.
“Explosions are always fun to do,” says 32TEN Studios’ Practical FX Supervisor Geoff Heron, “and we have done a lot of them over the years. Tim [Alexander] was very precise in what he wanted, but he also understood that there’s always a chance that something beautiful can happen with a practical effects shoot.”
ILM’s Alexander was pleased with the efforts. “32TEN added just what we needed to add to our CG shots to create the action that Colin desired for the film.”
Read an in-depth story about the VFX in the film in the July/August 2015 issue of CGW.
Big Friendly Giant on Bamburgh Beach
(northumberlandgazette.co.uk) Filming for a major Hollywood film, based on a classic children’s book, took place this week on the beach beneath Bamburgh Castle.
The filming, which took place on Monday night into Tuesday morning, was for The BFG, a Steven Spielberg version of the Roald Dahl book. The movie, which stars Mark Rylance as the Big Friendly Giant and Ruby Barnhill as Sophie, will be co-produced by Walt Disney Pictures, DreamWorks Pictures, Amblin Entertainment, and Walden Media.
It is scheduled to be released on July 1, 2016. Entertainment One will release the film on July 22, 2016, in the UK. Principal photography on the film began on March 23 in Vancouver and concluded on June 12. It is understood that neither the cast nor Mr Spielberg were present in Bamburgh this week.
In April, the beach was used for filming some of Beowulf, a 13-part ITV drama series, while last February, it was used for a new film version of Shakespeare’s famous tragedy Macbeth, which is due to be released in October this year. Interestingly, it is the second time the Scottish Play has come to Bamburgh with Roman Polanski’s 1971 version also filming there.
Source with pics: http://www.northumberlandgazette.co.uk/news/local-news/big-friendly-giant-on-bamburgh-beach-1-7342126
Pixar Animation Studios Releases RenderMan 20
(awn.com) EMERYVILLE, CA — Pixar Animation Studios has released version 20 of its Academy Award-winning RenderMan software, introducing major innovations allowing cinematic quality imagery to be created more easily and faster than previously possible. Highlights include a game-changing noise reduction technology that directly addresses the problem of image artifacts associated with physically based ray tracers, massively reducing the time needed to deliver completed shots and images.
RenderMan 20 also expands the creative choices available to artists and studios through numerous advances in usability including a physical camera, a Visualizer for navigating and inspecting large scenes interactively, expanded shader libraries and presets, and new volume rendering features. A new Marschner hair shader represents the first time Pixar has shipped shading technology specifically developed for use in its feature films, making available truly Pixar quality hair and fur. In addition, RenderMan’s tradition of advanced customization is emphasized through a new light filter API. Rendering shots for dailies is also faster than ever with new enhancements to RenderMan’s noted image checkpointing, allowing entire shots to be quickly previewed nearly immediately and at full resolution. RenderMan 20 continues to channel the combined technology resources of The Walt Disney Company to the desktop of anyone producing visual effects, animation, and visualization.
“The new denoising technology currently being used in our upcoming feature, Finding Dory, has been incredibly valuable, allowing us to compute final frames up to ten times faster. We could not finish this production without it,” said John Halstead, Supervising Technical Director of Finding Dory at Pixar.
“RenderMan’s new and enhanced Interior Integrators provide us with full control over our volumes and allows us to push their visual quality to the next level.” Said Damien Fagnou, Global Head of VFX Operations at MPC Film.
“RenderMan’s new RIS mode was incredibly stable and consistent on Ant-Man. Everybody was blown away by the quality of the renders even in very early tests” Said Fabio Zangla CG Sequence Supervisor at Double Negative. “With such a radically different internal architecture, RIS is a world away from any previous version, but still retains many features that made RenderMan so successful in the past.”
Free Non-Commercial RenderMan is now upgraded to version 20, and existing and new users are invited to download the latest version from the RenderMan website. New tutorials and workflows for RenderMan 20 can also be found on the new RenderMan Community site.
RenderMan 20 is compatible with the following 64-bit operating systems: Mac OS 10.9, 10.8 and 10.7, Windows 8 and 7, and Linux glibc 2.12 or higher and gcc 4.4.5 and higher. RenderMan 20 is also compatible with versions 2014, 2015, and 2016 of Autodesk’s Maya, and with version 2.0 of The Foundry’s KATANA. RenderMan is available commercially as individual licenses with volume discounts or through custom site licensing packages tailored for each customer. In addition, Pixar’s annual maintenance program provides access to ongoing support and free upgrades.
Han Solo Movie Confirmed By Lucasfilm, ‘Star Wars Anthology’ Set For 2018
(cdn.inquisitr.com) Han Solo is getting his own movie, Lucasfilm confirmed in a statement Tuesday. The spin-off is part of the Star Wars Anthology series, which so far includes Rogue One, and is slated to open on May 25, 2018.
This is such exciting news for Star Wars fans that Han Solo was trending on Twitter pretty much all evening after the news broke. Han Solo is the intergallactic smuggler who becomes involved with the Rebellion when he meets Luke Skywalker (Mark Hamill) and Obi Wan Kenobi (Alec Guinness).
Solo was immortalized by original trilogy actor Harrison Ford, and is one of the most popular characters in movies. The new Han Solo movie will focus on a young version of the role, which propelled Ford’s career into stardom.)
As previously reported by the Inquisitr, Lucasfilm also announced The Lego Movie team of Phil Lord and Christopher Miller have been selected to bring the Han Solo movie to life, and they couldn’t be more excited.
“This is the first film we’ve worked on that seems like a good idea to begin with. We promise to take risks, to give the audience a fresh experience, and we pledge ourselves to be faithful stewards of these characters who mean so much to us. This is a dream come true for us. And not the kind of dream where you’re late for work and all your clothes are made of pudding, but the kind of dream where you get to make a film with some of the greatest characters ever, in a film franchise you’ve loved since before you can remember having dreams at all.”
Also joining the Han Solo movie production are the father and son team of Lawrence Kasdan and Jon Kasdan, who will write the script that explores the smuggler’s younger years before we meet him in Star Wars: A New Hope. Lawrence Kasdan is the writer of another Harrison Ford film, Raiders of the Lost Ark, as well as the co-writer of The Empire Strikes Back, Return of the Jedi, and Star Wars: The Force Awakens. The Kasdans also expressed their pleasure at being part of this movie, and working with Lord and Miller.
“We’re so excited to be working with Chris and Phil, who will bring a fresh new dimension to the Star Wars universe. They’re two of the smartest, funniest, and most original filmmakers around, and the ideal choice to tell the story of Han Solo, one of the coolest characters in the galaxy.”
We are not sure how young Han Solo will be in the movie, but everyone, including the Lucasfilm President and the film’s producer, Kathleen Kennedy, is super pumped to see how the creative minds develop the beloved character.
“It’s not just any filmmaker who can tell the story of such a beloved icon like Han Solo, and I’m excited to say we’ve found the perfect team to handle the task. Larry and Jon know all there is to know about the character, and Chris and Phil will bring their wit, style, energy and heart to tell Han’s story.”
Some have expressed concern that Miller and Lord already have a full plate with other projects, including The Lego Movie Sequel. However, most believe the pair will bring back the humor that was lost in the prequels. Now, fans have a long time to ponder on who is the ideal candidate to portray young Han Solo in the movie. Chris Pratt seems to be a popular choice, but we will have to wait and see.
Disney is Closing its First Virtual Reality Attraction
(engadget.com) Disney World broke ground in virtual reality when it launched its DisneyQuest “interactive theme park” back in 1998. To say that times have changed would be an understatement, though — DQ is using primitive VR technology that makes even Google Cardboard look like a quantum leap. Appropriately, the company now plans to close DisneyQuest in 2016 and replace it with an NBA-themed attraction. The exact reasons for the shutdown aren’t clear, but it’s likely a combination of the less-than-impressive technology with mounting support costs. At one point this spring, most of the attractions weren’t working — it’s hard to imagine Disney pouring lots of money into hardware that’s more likely to make you yawn than gasp in awe. You might feel nostalgic if you have fond memories of visiting DisneyQuest as a kid, but it’s hard to mourn the loss when you can have a much nicer experience at home.