Who ya gonna call (to do vfx)?

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John Bruno (far left) examines the Onion Head puppet used in Ghostbusters.

Paul Feig’s Ghostbusters is out this weekend and takes the franchise to a whole new level. The original films were masterclasses in using visual effects to help tell the story – and telling jokes too. For my book, Masters of FX, I got to talk to both Richard Edlund, the original film’s visual effects supervisor and John Bruno, the visual effects art director. Here’s some excerpts from the book about how they made Slimer, Marshmallow Man and the Gozer Temple effects from the 1984 film.  Continue reading Who ya gonna call (to do vfx)?

John Knoll’s Death Star hobby project because, well, he’s John Knoll


“…a fun hobby project that may or may not see use in an upcoming film…”

If you were lucky enough to be at the Star Wars Celebration Europe 2016 event in London on Friday or watching the livestream, then hopefully you saw what I think was one of the most insightful panel presentations that’s ever been presented on Star Wars. The highlight, for me, involved ILM visual effects supervisor and chief creative officer John Knoll showing off his ‘personal hobby project’ in re-creating the Death Star and the trench run graphics. Well, he said they were hobby projects but they also did coincide with early production on Rogue One (the story for which was Knoll’s idea).

Continue reading John Knoll’s Death Star hobby project because, well, he’s John Knoll



The Shallows has some amazing CG shark visuals, but you’d expect that with Important Looking Pirates on board, as well as VFX supervisor Scott E Anderson. I talked to Scott for this new piece on One Perfect Shot.

An ape film with no mocap?


Have to admit I was surprised no mocap was used for the apes in The Legend of Tarzan. That didn’t mean gray tracking suits weren’t used for reference, but none of this was for traditional performance capture data. Find out more in this interview with Framestore for One Perfect Shot.

‘Resurgence’ visions

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In vfxblog’s recent chat with Independence Day: Resurgence’s visual effects supervisor Volker Engel, he mentioned the importance of ‘selling’ the scope of the film to the studio before receiving the greenlight. Visual effects studio TRIXTER was crucial in this process, with its art department contributing key concept art for some of the film’s big scenes. Ultimately the studio also delivered on several visual effects sequences, too, as VFX supe Dominik Zimmerle outlines in this interview, complete with examples of the concepts and final shots. Continue reading ‘Resurgence’ visions