For 3D Artist magazine, I looked back at the pioneering CGI work in Jurassic Park by ILM and Tippett Studio. Keep an eye out on vfxblog for more Jurassic 25th anniversary coverage.
I was particularly impressed at how both DD and Weta Digital made Thanos for Infinity War. Here’s my Cartoon Brew coverage.
I asked Weta Digital animation supervisor David Clayton that question for VFX Voice, in relation to his work on Rampage.
I asked Image Engine, who worked on Lost in Space.
Matt Patches from Thrillist had me collaborate on an incredible oral history of the Battle of NY in The Avengers. Check it out.
I’m on the program board this year for FMX, and helped organise the ‘Then & Now’ track which is featuring Phil Tippett and Chris Wedge. Here’s a rundown at Cartoon Brew.
In February, I wrote this piece for 3D World magazine about their horse and rider agent. Check out the tutorial that Steven Regelous did, too.
Back for the February 2018 issue of 3D World magazine, I talked to Rise FX about their use of procedural workflows in Houdini for Babylon Berlin and The Dark Tower.
A look at the work with ILM and Digital Domain, at Cartoon Brew.
…and how they had to be re-designed with only 2 months to go! Read the article at Cartoon Brew.
Check out the latest 3D Artist magazine for my behind the scenes look at Ready Player One and the work of ILM and Digital Domain.
For VFX Voice, I talked to a number of VFX artists who have made the jump to directing: Hasraf Dulull, Victor Perez and Miguel Ortega. Check out the projects they’ve worked on and tips for becoming a director.
20 years has gone fast – I distinctly remember the studio’s first big project, Pitch Black. Trace their path in this story at VFX Voice.
I talked to Scanline for VFX Voice magazine about how they did the waterfall scene for Tomb Raider.
Image Engine gave me some great breakdown pics to go with this VFX Voice story on the art of VFX breakdowns.
For Cartoon Brew, I talked to The Mill about their new Real-time Animation System. Seems really promising.
There are actually sooo many great effects shots in Willow, but for me it was ILM’s use of ‘morfing’ that made that project so memorable. It’s now 30 years old, and here’s the VFX Voice piece I was able to do on the film.
Isle of Dogs is simply incredible. And much of that has to do with the work of DOP Tristan Oliver and his team. Check out our chat at Cartoon Brew.
I talked to Aardman for this story at VFX Voice about their newest stop motion effort, Early Man. Some really nice behind the scenes pics here.
The latest issue of VFX Voice is now out, with Wrinkle in Time on the cover, and has a bunch of content I was able to contribute. I’ll post some links to some of those stories in the coming days.