Eric Brevig, a distinguished film director and visual effects supervisor of great repute, entered this world in the year 1957. Throughout his illustrious career, he has consistently demonstrated his exceptional prowess in the realm of visual effects, leaving an indelible mark on numerous major theatrical films and television shows. One of his most notable achievements is his work as Visual Effects Supervisor and Second Unit Director on the 2001 action drama Pearl Harbor, a production masterminded by the illustrious duo of Jerry Bruckheimer and Michael Bay. In this capacity, Brevig had the opportunity to showcase his remarkable skills in visual effects, further solidifying his reputation as a master of his craft.
As a film student at the University of California, Los Angeles (UCLA),Brevig's interests began to shift towards the vast possibilities of three-dimensional (3D) technology in live-action film production, sparking a profound fascination within him. He embarked on a mission to acquire comprehensive knowledge on the subject, diligently pouring over resources and devoting himself to the pursuit of expertise.
Years later, in 1986, Brevig's proficiency in 3D photography was put to the test as he took on a pivotal role in overseeing the technical aspects of the Disney theme park's Captain EO short film.
Brevig's impressive career trajectory has been marked by his involvement in numerous special effects-laden cinematic productions, with notable credits including Men in Black and Pearl Harbor. His extensive background in 3D filmmaking and mastery of the medium played a pivotal role in securing his inaugural directorial assignment. This esteemed opportunity arose when Brevig was entrusted with the helm of the 2008 film Journey to the Center of the Earth 3-D, a groundbreaking narrative feature that holds the distinction of being the first to be shot entirely in digital 3-D, courtesy of New Line Cinema.
Brevig's subsequent endeavour was a 3-D cinematic endeavour, Yogi Bear, in collaboration with Warner Bros. Furthermore, he is committed to helming a 3-D dramatic portrayal of the Korean War, titled 17 Days of Winter, which revolves around the pivotal 1950 Battle of Chosin Reservoir.
This ambitious production, anticipated to incur a substantial budget of $80-100 million, is slated to commence filming in Korea and New Zealand during the 2010-2011 winter season. With a projected release date set for 2012, this forthcoming film promises to be a visually stunning and historically significant cinematic experience.
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