I mean, is there anything cooler that ILM’s John Knoll discussing how he built a motion control system?
Here, he discusses it with Tested's Adam Savage and how it was used for shooting the Onyx Cinder for Star Wars: Skeleton
So, what happens when you’re asked to make a character out of mud and frogs?
Not to mention…a character full of snakes, or one made of honeycomb and bees!
Miniature ships, big impact
Behind ILM’s efforts to craft both the Razor Crest and Moff Gideon’s Light Cruiser miniatures for 'The Mandalorian.'
‘Computer pajamas’: the history of ILM’s IMocap
How Davy Jones launched ILM's on-set performance capture system.
Jar Jar Binks was nearly a practical suit and a CG head
All about that ILM Jar Jar test which proved the character should be all-digital.
The world already loved lightsabers, but then ‘The Phantom Menace’ made them even better
How new ways of shooting, new digital tools and lots and lots of roto resulted in the laser swords of ‘Episode I’.
How ILM’s work on ‘Hook’ led to ‘Phantom Menace’s’ podrace
Projection mapping played a key role in making those racers go fast. Real fast.
Stranger Things 5
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Industrial Light & Magic: 50 Years of Innovation
How the right school helped this FX artist land a credit on ‘Sinners’
From classroom to credits, with Campus VFX
