RE:Vision Effects, Inc. : Company: About

RE:Vision is an R+D company that provides end-user software tools in the form of plug-ins and add-ons to many popular compositing, NLE and 3D applications. The RE:Vision team has proven experience in feature film, video, animation, advertising and internet-based projects. Additionally, RE:Vision designs, develops and supplies proprietary software tools and techniques available nowhere else!

Founders Pete Litwinowicz and Pierre Jasmin to receive Technical Achievement award by the Academy of Motion Pictures Arts and Sciences for RE:Vision Effects' software tools for optical flow-based image manipulation. Award to be presented Feb 10, 2007, Beverly Hills, CA.

Emmy Award Winning Project for Outstanding Special Visual Effects

DREAMKEEPER

Click to Play Video

RE:Vision Effects was instrumental in providing software for special purpose filtering and per-pixel motion tracking, and for calculating depth from stereo imagery.

Initially Aired on ABC in the U.S. on December 28 and 29, 2003.

Production Company: Hallmark Entertainment
Post Production House: Glassworks
Visual Supervisor: Nick Brooks
Effects companies: Glassworks, la Maison,
Giant Killer Robots, Double Negative, RE:Vision Effects

Oscar Winning Project for Best Visual Effects

WHAT DREAMS MAY COME

Sample Images (click on thumbnails to view larger images)

Samples of Before and After the Motion Paint Process

Awards for our work on "What Dreams May Come"

1999 Academy Award for Best Visual Effects.
1999 Ars Electronica Golden Nica for Visual Effects.
1999 Imagina Awards for Best Visual Effects and Visual Innovation.

What reviewers have said about our work :

In one sequence that is among the most visually exciting I have ever seen, he occupies a landscape that is a painting, and as he plucks a flower it turns to oil paint in his hand.
Roger Ebert, Chicago Sun-Times

It must be said that nothing quite like this painted world has been seen in a major feature film before, as it no doubt would have been impossible to create such a thing so credibly before the advent of the sort of sophisticated digital visual effects that can make three-dimensional spaces out of two-dimensional art works. Drawing upon diverse artistic influences, the film's backgrounds provide a genuine feast for the eyes.
Todd McCarthy, Variety