Inverse does some fun retro pieces, especially when a new film is coming out. I was stoked they asked me to write a brief history of visual effectsbrief history of visual effects used in King Kong movies.
The announcement of who won the Oscar for Best Visual Effects this year is literally just hours away…which is a perfect time to quickly revisit and watch some of the best breakdowns that have been doing the rounds for each of the nominated films. Quick! Continue reading Look! It’s your last-minute Oscar vfx breakdown fix
Last year, the Marvel character Ghost Rider burst onto the small screen in ABC’s Agents of S.H.I.E.L.D. for seven episodes of the series. The fiery effects required to bring Ghost Rider (played by Gabriel Luna) to life were orchestrated by FuseFX. In this special vfxblog breakdown, FuseFX visual effects supervisor Kevin Lingenfelser dives into how the character’s fire effects and transformations were achieved. Continue reading Forging the fiery face of Ghost Rider for ‘Agents of S.H.I.E.L.D.’
Director Ben Hibon’s works are pieces of animation that tend to stick in your mind for months or years. From his breakthrough short Codehunters to the masterful Harry Potter ‘Tale of Three Brothers’ sequence, Hibon has brought a definitive style to the animation he’s directed.
Now he has joined Luma Pictures as their head creative director, at a time when the studio that most people know as a visual effects shop is also branching out into animation, its own features and other content.
I recently got the chance to sit down with Hibon to discuss his journey in animated content, and about the plan at Luma. Continue reading ‘Tale of Three Brothers’ director Ben Hibon on his next creative adventures at Luma Pictures
The newest issue of 3D Artist mag features Animal Logic’s work for The LEGO Batman Movie on the cover. I had the pleasure of writing a feature on the work by the studio.
If you’ve never seen James Cameron’s Terminator 2: Judgment Day – either on the big or small screen – now’s the time to embrace this wonder of filmmaking and effects. The movie has been digitally re-mastered and received the ‘full liquid metal 3D’ stereo conversion treatment by Stereo D. The new release just premiered at the Berlin International Film Festival and will have public release dates around the world in August.
Twenty-six years ago, T2 helped usher in a new wave of digital visual effects artistry thanks to the pioneering computer graphics work by ILM, capitalising on their work for The Abyss, and then which the studio took even further on Jurassic Park.
It was the liquid metal T-1000 played by Robert Patrick that represented the majority of this CGI work in the film. Indeed, a hero reveal of the ‘cybernetic organism’ emerging from the flames of a burning truck wreckage became one of ILM’s signature shots for years to come.
Two of the principal artists behind that work were animation director Steve ‘Spaz’ Williams and associate visual effects supervisor Mark Dippé. In this special vfxblog interview conducted at SIGGRAPH Asia 2016 to celebrate the 25th anniversary of Terminator 2, Williams and Dippé recount their efforts to create that memorable shot, known as CC-1.
I’m a collector (some might say ‘hoarder’). Most people know about the Speed stuff, but over the years I’ve also amassed dozens of ‘making of’ film books. Which is why when DK asked me last year to consult on their The LEGO Batman Movie: The Making of the Movie book, I could barely contain myself.
It would involve spending time in DK’s London offices and a week at Animal Logic, the animation studio behind the film. My brief was to identify some of the main points for discussion in the book and pick out a bunch of cool imagery to show.
I have to say, the book came out even better than I imagined. It’s a neat cross between the more common ‘art of’ books now available for animated films and the classic ‘making of’ books that I collect. Every spread does an incredible job of highlighting the huge amount of work involved, especially by Animal Logic, in bringing the film to life by showcasing concept designs, storyboards, work in progress shots and final scenes.
Also, having seen the film, the book somehow does a killer job of not spoiling the movie while still revealing so much (which is rare). So, I hope you like the book – you can buy it at Amazon. Look out for my ‘animation consultant’ credit in the back. And I can tell you the film is awesome, too.