Thrillist asked me to look into The Lawnmower Man, Brett Leonard’s VR horror/thriller from 1992 and which is celebrating its 25th anniversary this month. I talked to the director and found out some neat things about his approach to the story and visual effects. Check it out here, and stay tuned for more vfx-focused retro coverage of the film, too.
I’ve got to travel around to a few conferences and events recently and what I’ve found is, there’s nothing quite like hearing and learning directly from artists in visual effects and design – in person.
In Australia, it can sometimes be tricky to have that exposure to the best artists in the field. However, there’s an event coming up – in both Melbourne and then in Sydney – aiming to change that.
It’s called Gnomon Live, and it’s a full weekend event of live demos, masterclasses and panel discussions with a whole bunch of world-class artists speaking on a range of VFX and design topics. People like Neville Page, Tran Ma, Miguel Ortega, Brian Recktenwald and Josh Herman. Plus the big studios – Animal Logic, Luma Pictures, Iloura, Firemonkeys, and more, will be there.
Another of the presenters whose attending is art director Alex Nice from Magnopus, an exciting studio which is crossing the line between visual effects and new forms of immersive entertainment. Nice has previously worked on films like Sin City, The Hunger Games and Hugo, and these days he’s exploring new art direction techniques in AR and VR.
Many big action blockbusters these days makes use of digi-doubles. One of the latest to take advantage of advancements in scanning humans and realizing CG actors is Logan, for which Image Engine crafted digital Hugh Jackmans and avatars of the new mutant Laura. I wrote up a breakdown of the work for Cartoon Brew.