Kevin Smith's latest movie Cop Out stars Bruce Willis and Tracy Morgan as two long-time NYPD partners and centers on their search for a stolen baseball card. Kevin Smith once again entrusted the digital intermediate work to LaserPacific and senior colorist Dave Cole. Although it was not a VFX-heavy movie, LaserPacific's VFX group was happy to be able to provide their expertise on certain shots including stunt pad removals, day-for-night shots and logo removals.

According to Mike Pryor, LaserPacific's senior visual effects producer, "the most challenging shot involved removing green pond scum from the top of a pond in a grand final shot. The previous shots in the scene had been shot on a different day when the wind was blowing in a different direction and there was no algae. We tracked the surface of the water using Boujou and then fed the tracking data into Maya where we re-created objects in the shot - a tree and a building - and created a reflective surface for them to be seen in. The "reflection" was rendered in Mental Ray and the final composite was done with Nuke."

LaserPacific's VFX department is proud to continue collaborating with the post production team on the acclaimed, Emmy Award winning TV series Mad Men. The feel of the 1960's smoke hazed, boozy era is certainly due to the tremendous camera, art, make-up and costume department who have created a wonderful look for the show which is enhanced by LaserPacific's DI based timing tools. But LaserPacific's visual effects unit has also played a role in helping to "sell" the era by adding deft and subtle touches.

Starring Joan Allen as Georgia O'Keeffe, a leading force in American art in the twentieth century, and Jeremy Irons as her long-time lover, photographer Alfred Steiglitz, this biopic from Lifetime Television tells the story of the artist and her turbulent relationship with Steiglitz. It will premiere on Lifetime on September 19th 2009. LaserPacific's involvement included some challenging shots that forced senior VFX artist Jason Wilson to come up with some new 3D matte painting techniques to turn present-day downtown Los Angeles into New York City in the nineteen twenties and thirties. According to Jason, "the client requested that we build a cityscape of New York in the nineteen twenties and thirties that was accurate to the period with the skyline based on actual photographs taken by Alfred Stieglitz."

This action-packed show starring Jeffrey Donovan as a spy who's been "burned" or exposed as an unreliable agent is now in its second season on the USA Network. LaserPacific is proud to provide the dailies, online assembly, final color grading and VFX that enhance practical effects such as wire and rig removal. The show is shot in Miami and the city provides a stunning backdrop. Every episode includes spectacular stunts and explosions. For example, the episode "Scatter Point" featured the largest explosion in the history of Burn Notice - it was more than seven stories high and was filmed by six cameras!

Life on Mars tells the story of NYPD detective Sam Tyler (Jason O'Mara) who is propelled back to 1973 when he is hit by a car while chasing a suspect. It has a unique look that is used to evoke the feel of that time, so when we were asked to create a complex, multi-layer effect for a sequence where one of the characters is experiencing an acid trip, we weren't too shocked. The sequence appears in the episode, Have You Seen Your Mother, Baby, Standing In The Shadows when lead character Sam Tyler is dosed with LSD and experiences a nightmare involving his mother as well as many of the characters he is involved with in 1973.

It can't be helped - sometimes there is production equipment in the take you want to use. It could be a boom microphone, a boom shadow, a camera flag or even a crew member. LaserPacific's VFX team can easily remove these unwanted objects or people, and best of all, our pipeline is so seamless that it can all happen without slowing down the post production process.