
The film celebrates its 50th anniversary this year, and included a huge step forward in digital VFX.
The film celebrates its 50th anniversary this year, and included a huge step forward in digital VFX.
On the film’s 30th anniversary, learn how the VFX studio was going to motion blur Tippett’s stop-motion puppets, before things went CG.
On the 30th anniversary of ‘Cliffhanger’, a look at the, er, very efficient bat art direction for a particular scene.
We look back at the four decade anniversary of ‘Return of the Jedi’ with Industrial Light & Magic’s production supervisor on the film, Patricia Rose Duignan.
The Commodore Amiga 4000/040 was used by Digital Domain to help craft effects shots and review miniature shoots for Titanic, Apollo 13 and True Lies.
ACM has made 50 years of their publications open and freely available, including this killer animation-related session.
“Bob had said to Meryl Streep: ‘Whatever Ken asks you to do, no matter how silly, just go with it. You can trust him.’ Because she must have been thinking, ‘What am I? What is this stupid thing?’” – Death Becomes Her visual effects supervisor Ken Ralston.
“I’ve always told people that when you have a movie that’s fairly complicated be sure to have a talking pug dog in it, because then you can fix things after with the same pose.” – Eric Brevig, Men In Black visual effects supervisor.
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’
The VFX supervisor of ‘Panic Room’–the film is now two decades old–shares key moments from its production.