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…