‘…Plates that would form views looking out from inside the glass windows were gathered by Johnson and visual effects photographer Aviv Yaron. Together they scouted various Moscow rooftops and vantage points for suitable angles…
“One of the places we shot from,” adds Johnson, “was a bizarre oligarch’s restaurant on one of the towers in the area which was a glassed-in fancy restaurant. In fact, we had to wait for some Russian billionaires to finish their dinner at two in the morning before we could go in there and photograph. I do spend an awful lot of time on rooftops. Aviv and I were going to do a coffee-table book of ‘panoramas from rooftops around the world.’”…’
On ‘Simon the Ogre’ Aviv Yaron Ltd provided Realise Studio with the VFX photography for the Digi-Double work. Please see fxguide’s artical on how-to-make-a-loveable-ogre-in-7-easy-steps
On ‘The Monuments Men’ Aviv Yaron’s VFX photography was mainly used to generate environments — originally shot in Berlin and Paris.
On ‘Simon the Ogre’ Aviv Yaron Ltd provided Realise Studio with the VFX photography for the Digi-Double work.
On ‘Jack Ryan: Shadow Recruit’ Aviv Yaron’s VFX photography was mainly used to generate environments — originally shot in Moscow, New York and Liverpool. Some of this work could be seen in the trailer:
L’ASSENZA has been nominated for Best British Short — BIFA 2013
Sample and Hold (http://www.sampleandhold.co.uk/) and Aviv Yaron Ltd. have collaborated on ‘Into The Woods’ to further refine the procedure of scanning and texture shooting for Digital Doubles. We have reduced the time we spent with the principle actors/actresses to 15min-20min, whilst improving the coherency of the shoot and scan data. This, hopefully, will also support a better efficiency during Post-production too.
‘…L’Assenza, a short film backed by the BFI, written/directed by Jonathan Romney, produced by First Born Films in association with Lighthouse…’
The 1961 L’Assenza trailer
The modern trailer
- Technical Supervision — Aviv Yaron
‘…Cinesite’s environment team decided that to give the “realest” look they would base the CG as much as possible on photographed reality. Cinesite VFX supervisor Matt Johnson and VFX photographer Aviv Yaron took extensive reference photographs of buildings in and around Philadelphia which were digitally projected onto geometry. The buildings were then placed in layouts in Nuke and fitted into the original Glasgow plates…’
‘…The story begins in Philadelphia, but the only photography actually captured there was undertaken by Matt and visual effects photographer Aviv Yaron during a comprehensive photo shoot…’