It was a lot of roto. I talked to Stereo D here at VFX Voice.
It was a lot of roto. I talked to Stereo D here at VFX Voice.
Ever since James Cameron’s Terminator 2: Judgment Day was released in 1991, I’ve been reading about the many ways ILM, led by visual effects supervisor Dennis Muren, had to basically invent new ways to realise the CG ‘liquid metal’ T-1000 shots in that film, of which there are surprisingly few. Tools like ‘Make Sticky’ and ‘Body Sock’ are ones that I’d heard referenced several times, but I’ve always wanted to know more about how those pieces of software were made.
So, over the past few months, leading up to the re-release of Terminator 2 in 3D, I’ve been chatting to the artists behind the technology who were there at the time. This was when ILM was based in San Rafael, and when its computer graphics department was still astonishingly small. Yet despite the obvious challenges in wrangling this nascent technology, the studio had been buoyed by the promising results on a few previous efforts, including Cameron’s The Abyss, and by the possibilities that digital visual effects could bring to modern-day filmmaking.
For this special retro oral history, vfxblog goes back in time with more than a dozen ILMers (their original screen credits appear in parentheses) to discuss the development of key CGI tools and techniques for the VFX Oscar winning Terminator 2, how they worked with early animation packages like Alias, and how a selection of the most memorable shots in the film – forever etched into the history of visual effects – came to be. Continue reading The tech of ‘Terminator 2’ – an oral history
At SIGGRAPH, I caught up with Stephen Regelous from Massive to find out about the software’s new horse and rider agent. Check it out at VFX Voice.
I talked to Body Labs about their statistical models for the human body shape and motion, and how they might impact on animation for gaming, AR, VR and visual effects. Check it out at Cartoon Brew.
I recently spoke to visual effects supervisor Ken Ralston about his work at ILM on Death Becomes Her for the 25th anniversary of the film. The interview received some surprising attention; the film might not have been a hit but the practical make-up effects by ADI and ILM’s innovative ‘digital wizardry’ both continue to be fondly remembered.
Another ILMer on the show, Alex Seiden (who had worked on Terminator 2 and would go on to contribute to Jurassic Park), contacted me with a super-fun story about his last minute work on Death Becomes Her’s end scene – where Meryl Streep and Goldie Hawn’s characters are at this point only their heads talking to each other, after they both take a major tumble down some stairs at a funeral. The shot was a long one – over 20 seconds – and was filmed as separate motion control passes that needed A LOT of hand roto in a very, very short space of time.
Below, Seiden relates how he helped make that possible. But first, watch the scene.
James Gunn narrates a scene from Guardians of the Galaxy Vol 2 where the Ravagers take on Rocket in the forest – breaking down the shots from storyboards to previs/postvis and final (with VFX by Trixter). This clip is from the film’s DVD/Blu-Ray release.
“Ask any VFX artist about their worst shot and I bet they can tell you the shot name. On Event Horizon, M255 was that shot for me.” – Sue Rowe
Now a visual effects supervisor at Sony Pictures Imageworks, Sue Rowe was back in 1997 a sequence supervisor at Cinesite (Europe) on Paul W.S. Anderson’s sci-fi horror space adventure, Event Horizon. Here, one of her tasks included a challenging composite for a shot – named M255 – that melded motion control plates of a miniature Lewis and Clark ship in the film with live action principal photography.
For the film’s 20th anniversary, Rowe dives back into that monster of a shot and how she managed to pull it off, thanks to hours of work and sleepless nights. And she recalls a few other key memories from the production, one of which involved the clever use of cornflakes.
For DigitalArts, I highlighted 7 of the coolest things I saw at SIGGRAPH. What a conference!
I recently listened to this interview on BBC’s The Film Programme between host Francine Stock and Christopher Nolan on the director’s latest project, Dunkirk. It’s a great interview, in which Nolan discusses how he constructed the time-bending narrative in the film, how he used sound and score, and his thoughts on – and this is what interested me the most – shooting with photochemical film and the use of visual effects.
I loved Dunkirk. Everything about the way it is told and the way it was produced makes it such a fantastic cinema-going experience. I feel like I know a lot already about Nolan’s desire to keep using film, and to shoot things as practically as possible, even though of course his movies do rely on plenty of digital visual effects. But I’d never heard him talk about these desires quite like this, so I transcribed the relevant section below (apologies right now for any errors in my transcription).
I feel like there’s a slight conflation in the interview of the idea of shooting on film and the use of ‘CGI’ in filmmaking, but I absolutely get what Nolan is saying about the ‘feeling’ from what you see on screen. And in terms of visual effects, by shooting so much practically, any visual effects artist will have a very obvious target to match in anything that needs to be generated digitally, or composited from multiple plates, or cleaned-up with digital tools. In fact, that’s why the VFX in Nolan’s films are so seamless, I think. They have to match what was shot, or what’s the point of including them?
Anyway, have a listen to the interview, or read the transcript below, and tell me what you think in the comments. Continue reading Here’s one of the best interviews I’ve heard Christopher Nolan give about his thoughts on film, digital and VFX
Digital Arts asked me to round-up the recent events at SIGGRAPH 2017 – you can read that here. Also coming is a look at some specific super-cool things I saw there. It was truly an awesome event, so much more to say than there is time in the world!