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 dogfight sequences, Alien Attacker shield effects and the final Mothership explosion. Faced with next to no time on these shots, artists at the studio capitalized on Side Effects’ Prisms (pre-Houdini) and developed its own procedural systems, in particular a tool called ‘Sparky’, to deliver the effects on time. In Part 2 of our retro ID4 coverage (Part 1 looked at the Model Shop), vfxblog talks to two VisionArt artists on Independence Day, Rob Bredow, now CTO at Lucasfilm, and Daniel Kramer, now a visual effects supervisor at Sony Pictures Imageworks. Continue reading Old meets new: the vfx of Independence Day – Part 2
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 very difficult to accomplish photorealistically – and some of the best miniature work ever done. In this two part feature, vfxblog looks back at the practical and digital accomplishments on the vfx Oscar-winning Independence Day. We start with an exclusive video focusing on the film’s model shop. Continue reading Old meets new: the vfx of ‘Independence Day’ – Part 1
This Blackbird car rig from The Mill is almost too cool to talk about, so just watch the vid.
With Hank, Pixar’s creative and technical team has once again outdone itself. I talked to supervising technical director John Halstead about bringing the octopus to life, for OnePerfectShot.
Bill Westenhofer is a great guy and a great vfx supervisor – so I really enjoyed finding out more about his experience on Warcraft. This is my first piece for MovieMaker magazine. Read it to find out which shot Bill did himself on the film – in Blender!
Dan Trachtenberg’s highly secretive 10 Cloverfield Lane surprised audiences when it was released in March with its tense horror-thriller plot and surprise ending (btw, spoilers!). The JJ Abrams / Bad Robot-produced film mainly plays out in a doomsday bunker until the main character Michelle (Mary Elizabeth Winstead) finally encounters a mysterious space ship and alien creature above ground. Bad Robot’s in-house VFX unit Kelvin Optical completed these complicated effects as well as many other invisible shots. vfxblog talked to visual effects supervisor Luke McDonald, who also detailed deleted scenes and some unexpected effects duties. Continue reading The secrets behind Bad Robot’s vfx for ’10 Cloverfield Lane’
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 back a quarter of a century and discuss how motion control, stop motion and optical effects made those dynamic shots possible.
Two of the nicest artists in vfx – Steve Kullback and Joe Bauer – are featured in this Variety video hosted by David Cohen on the Battle of the Bastards ep in Game of Thrones.
MPC CG supervisor James Rustad details the visual effects required for Angel and Archangel’s wings in X-Men: Apocalypse. Continue reading vfx_shot: Taking flight
That’s a great way to describe anything, let alone a cinematic launch trailer. So when Axis Animation followed the idea for the new Dawn of War III, I had to to talk them – here’s the final piece for Cartoon Brew, with LOTS of behind the scenes.