An interview with Paul Debevec

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Back in the late 90s I was still at university and I stumbled upon the SIGGRAPH Video Review. One piece I watched was Paul Debevec’s The Campanile Movie where he’d used image-based modeling and rendering techniques to do virtual camera moves on a bell tower at the UC Berkeley campus. It was also an example of photogrammetry. I was absolutely fascinated. Then The Matrix came out and used kinda similar techniques during the bullet-time sequences. I remembered all that vividly. At fxguide, Paul’s work on the light stages and then with virtual humans was a regular point of discussion. So I am stoked to present an interview I’ve done with Paul about his range of research that has influenced VFX, CG, VR and animation. He’s also speaking next week at SIGGRAPH Asia (where I’ll be, too). Here is the interview at Cartoon Brew.

An interview with Paul Debevec

ILM is on fire with Deepwater Horizon

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You might not have seen Peter Berg’s Deepwater Horizon when it hit cinemas. But I’d implore you to check it out, if only for the remarkable combination of practical set photography, fire simulation and compositing involved in depicting the catastrophic – and real life – oil rig explosion that occurs in the film. I had a long conversation with overall and ILM visual effects supervisor Craig Hammack about the vfx effort in which we discussed what it really means to capture real fire, how to simulate it digitally, how some of the key shots were achieved, and about snaffling the last remaining LED wall screens in Louisiana for the shoot. Continue reading “ILM is on fire with Deepwater Horizon”

ILM is on fire with Deepwater Horizon