My chat with Imageworks vfx supe Sue Rowe on The Meg, at VFX Voice.
Tag: Imageworks
Kraken good animation
I talked to Imageworks vfx supe Mike Ford about the Kraken in Hotel Transylvania 3, and broke down the technical challenges, for VFX Voice.
Three character challenges from Hotel T 3
A look at animating three of the characters from Hotel Transylvania 3 with animation supervisor Alan Hawkins, at Cartoon Brew.
How the beach scene in ‘Contact’ went down to the wire
Yesterday I posted an interview with Contact’s visual effects supervisor Ken Ralston about his work on the film, which is now 20 years old. This included the incredible mirror shot, and for that high speed compositing supervisor Sheena Duggal also weighed-in on how that shot was made at Imageworks.
Well, Sheena has now also provided me with a great behind the scenes run-down of the challenges Imageworks also faced for the beach encounter Jodie Foster’s character has with her father on Vega (or does she…). That scene made use of bluescreen photography and a virtual environment all pieced together from plates shot in Fiji, despite the restrictions of the vfx technology at the time.
And it also had to be done twice. Continue reading “How the beach scene in ‘Contact’ went down to the wire”
The famous mirror shot in ‘Contact’ was almost something else entirely
Visual effects artists and aficionados are often asked which movie or shot was their biggest influence, a question that regularly evokes a response about films like Star Wars, Blade Runner or Jurassic Park.
Those films, of course, are all milestones in the VFX world. But in recent years, if that kind of question has come up in conversation, I have started noticing that the mirror shot in Robert Zemeckis’ Contact was being raised more and more – the one where a young Ellie races to the medicine cabinet, with the camera in front of her as she comes upstairs, only to reveal we have been watching her reflection in the mirror. Not only is it a shot considered a milestone in invisible and seamless visual effects, it is a scene that even VFX pros regularly admit they have no idea how it was pulled off.
Contact is now 20 years old, and its visual effects supervisor Ken Ralston sat down with vfxblog to revisit its fine effects work, which was primarily done by Sony Pictures Imageworks, and ranged from the invisible to the fantastical. In the process, I learnt something about that mirror shot I’d never heard anywhere before. Continue reading “The famous mirror shot in ‘Contact’ was almost something else entirely”
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