Sister visual effects studios Iloura and Method, both owned by Deluxe, are combining under a single brand – Method Studios.
Iloura, an Australian VFX studio with a 30 year history in Melbourne and Sydney, had in particular been knocking it out of the park recently with killer work on projects such as Game of Thrones, Fury Road, Jumanji: Welcome to the Jungle and many other feature films and TV shows. And Method, itself a studio with a rich 20 year history, continues to be a major contributor to big visual effects films, including Marvel’s Thor: Ragnarok and Spider-Man: Homecoming.
You can read more about Iloura and Method’s long histories in VFX and about their new combined pipelines at methodstudios.com, but after hearing about them coming together into one brand, I wanted to share a fun story about one of my first interactions with Method from more than a decade ago.
The first time I tried to cover a project by Method Studios, it actually didn’t work out. Well, an interview happened, but I never published it. This was in 2007 for the release of Pirates of the Caribbean: At World’s End, in which Method Studios contributed 13 shots of miniature Jack Sparrows (Johnny Depp) hanging around the dreadlocks of the larger Jack.
It was a cool sequence – dubbed ‘Little Jacks’ – and one that involved, I thought, some nice compositing to integrate live action miniature Depps into the plates. I was publishing occasional interviews on vfxblog back then, and after some Method employees answered my questions, I looked to put the piece online.
Except, there was a problem.
I wasn’t able to get any images from that scene (this was a Disney issue, nothing to do with Method). Without any visual aids to go with the story, I never published it. Back then, it was hard to source images (sometimes it still is). And although YouTube had been around for a couple of years, it was extremely rare for specific clips to be available at the time.
Ten years later, that’s all changed. So now, here, only a decade late, is my first ever vfxblog interview with Method, with plenty to illustrate it from At World’s End. And I hope to continue to cover the great work of Method, including by the teams in Sydney and Melbourne from the former Iloura offices, into the future.