Full liquid metal, now in 3D: re-visiting the freakin’ T-1000 walking out of the fiery truck crash

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…

The race to finish Dante’s Peak…20 years ago

Today, many of the visual effects in the 1997 disaster flick Dante’s Peak would probably be done completely digitally. Pyroclastic flows, exploding buildings, bridges and cars being swept away by a torrent of ashen river – these are things that can be done with complex effects simulations, CG elements and masterful compositing. But two decades ago, the…

You’re a wonderful human being: re-visiting CG Jabba 20 years later

You might have seen former ILM visual effects and animation supervisor Steve ‘Spaz’ Williams pop up on vfxblog quite a lot recently. That’s because he was involved in a number of seminal VFX films celebrating their various anniversaries of late, including Terminator 2: Judgment Day and Jurassic Park. Williams was also involved in another landmark…

When miniatures and CGI met in the sky: the vfx of Turbulence

Remember Turbulence? It was a much-hyped disaster flick set on a passenger 747 starring Lauren Holly and Ray Liotta, and released 20 years ago. The film may not by one for the history books, but its visual effects – a hybrid of miniatures and digital techniques – came right at a time where film VFX…

Behind the ILM Mars Attacks! tests that convinced Tim Burton to go CG

1996 was a break-out year for digital visual effects, with advancements in front and centre CG characters (Dragonheart), heavy environments and digital compositing (Independence Day), and photoreal CG simulations (Twister). Another film that took advantage of the the state of VFX was Tim Burton’s Mars Attacks!, a quirky off-shoot of the 1960s Topps trading cards….

The story behind Hook’s innovative projected matte painting – 25 years ago

Steven Spielberg’s Hook was released 25 years ago this week (it opened on December 11th, 1991) and at the time was one of ILM’s most intensive visual effects projects. VFX supe Eric Brevig oversaw a raft of flying scenes, matte paintings, models and even Go-Motion animation for Tinkerbell’s wings. A major innovation on the show…

The struggles – and successes – of Spawn

After pioneering the development of CG characters at ILM on The Abyss, Terminator 2: Judgment Day and Jurassic Park, Mark Dippé took on the directing duties for Spawn, based on the comic by Todd McFarlane. He was joined on the production by vfx supervisor and ILM ‘partner-in-crime’ Steve ‘Spaz’ Williams. The New Line film was…

T2 is 25: Robert Skotak’s liquid metal effects

James Cameron’s Terminator 2: Judgment Day is 25 years old. Soon on Cartoon Brew, I’ll have a full-length piece tracing the effects work by 4WARD Productions for the nuclear nightmare sequence, thanks to an in-depth conversation I had with 4WARD’s Robert Skotak. But first, a special preview and a look behind the scenes at some other…

Old meets new: the vfx of Independence Day – Part 2

Under the artful watch of visual and digital effects supervisors Volker Engel, Doug Smith and Tricia Ashford, a crack team of in-house effects artists and several post houses carried out the significant CG, matte painting and compositing duties for Independence Day. Among those was VisionArt, which came onto the production late in the game to help produce…

Old meets new: the vfx of ‘Independence Day’ – Part 1

Roland Emmerich’s 1996 disaster blockbuster Independence Day is about to get a very new sequel which features the latest in cutting-edge digital visual effects. Twenty years ago the director and his prolific effects team were faced with the gargantuan task of realizing big, big shots, a feat they achieved using both CG techniques – at the time still…

Animator Tom St Amand reflects on 25 years of ‘The Rocketeer’

Joe Johnston’s The Rocketeer was released 25 years ago today – on 21 June, 1991. Tom St Amand was ILM’s stop motion animator on the film and responsible for bringing to life an armatured version of the flying character which would then be composited into live action aerial plates. vfxblog asked St Amand to go…

‘Mission: Impossible’: ILM’s pioneering vfx 20 years on

1996 really was a big year in film releases and in vfx break-throughs. Mission: Impossible might not necessarily be thought of as a vfx blockbuster in the same vein as Twister or Independence Day from that year, but in many ways it ushered in several new techniques and drew upon a raft old ones to help tell this thrilling first…