I spend a lot of my working life looking for great visual effects, animation and CG content. There’s a lot out there. I’m of course drawn to making ofs and studio and film profiles, particularly about visual effects, but it wasn’t until last year that I discovered a new kind of VFX content.
That’s when I got to attend Trojan Horse was a Unicorn (full disclosure: they paid). It was a stunning event held in Troia, Portugal at a summer resort that mixed art, design, visual effects, 3D and filmmaking. Both professionals from the industry and artists at all levels attended. But what’s presented at Trojan Horse was not ‘making ofs’ or studio profiles. As good as those can be, Trojan Horse, or THU, is about a lot more. Continue reading When you crave creative content
Paul Feig’s Ghostbusters is out this weekend and takes the franchise to a whole new level. The original films were masterclasses in using visual effects to help tell the story – and telling jokes too. For my book, Masters of FX, I got to talk to both Richard Edlund, the original film’s visual effects supervisor and John Bruno, the visual effects art director. Here’s some excerpts from the book about how they made Slimer, Marshmallow Man and the Gozer Temple effects from the 1984 film. Continue reading Who ya gonna call (to do vfx)?
“…a fun hobby project that may or may not see use in an upcoming film…”
If you were lucky enough to be at the Star Wars Celebration Europe 2016 event in London on Friday or watching the livestream, then hopefully you saw what I think was one of the most insightful panel presentations that’s ever been presented on Star Wars. The highlight, for me, involved ILM visual effects supervisor and chief creative officer John Knoll showing off his ‘personal hobby project’ in re-creating the Death Star and the trench run graphics. Well, he said they were hobby projects but they also did coincide with early production on Rogue One (the story for which was Knoll’s idea).
The Shallows has some amazing CG shark visuals, but you’d expect that with Important Looking Pirates on board, as well as VFX supervisor Scott E Anderson. I talked to Scott for this new piece on One Perfect Shot.