The film celebrates its 50th anniversary this year, and included a huge step forward in digital VFX.
Category: Retro
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.
A celebration of Universal Capture, and what was invented at ESC for the Matrix sequels.
Has there ever quite been anything as cool as the original Bamfing effect in ‘X2’? UPDATED!
Re-visiting the go-motion work by Phil Tippett at ILM.
A conversation with colorist Peter Doyle.
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.
“The only good bug is a dead bug.”
ACM has made 50 years of their publications open and freely available, including this killer animation-related session.
This old-school footage is direct from the miniatures set on Paul W.S. Anderson’s horror film.
Before you see ‘Prey’, read about the old-school way the VFX in ‘Predator’ were crafted.
A new article on the 30th anniversary of the film.
“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.
The film has turned 25!
“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.
The infamous 1997 film had its own form of bullet-time, before bullet-time.
‘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.’
Happy 25th birthday to the film’s animatronic snake.
The VFX supervisor of ‘Panic Room’–the film is now two decades old–shares key moments from its production.
The film just turned 30! So I talked to director Brett Leonard.
Looking back at Blue Sky’s first feature film and the art and tech behind it.
The cape heralded a new wave of cloth simulation in movies.
One of the befores & afters retro panels happening at VIEW Conference
Learn more about the spaceship arrival/cloud tank VFX at this exclusive VIEW Conference panel.