If you’ve never seen James Cameron’s Terminator 2: Judgment Day – either on the big or small screen – now’s the time to embrace this wonder of filmmaking and effects. The movie has been digitally re-mastered and received the ‘full liquid metal 3D’ stereo conversion treatment by Stereo D. The new release just premiered at the Berlin International Film Festival and will have public release dates around the world in August.
Twenty-six years ago, T2 helped usher in a new wave of digital visual effects artistry thanks to the pioneering computer graphics work by ILM, capitalising on their work for The Abyss, and then which the studio took even further on Jurassic Park.
It was the liquid metal T-1000 played by Robert Patrick that represented the majority of this CGI work in the film. Indeed, a hero reveal of the ‘cybernetic organism’ emerging from the flames of a burning truck wreckage became one of ILM’s signature shots for years to come.
Two of the principal artists behind that work were animation director Steve ‘Spaz’ Williams and associate visual effects supervisor Mark Dippé. In this special vfxblog interview conducted at SIGGRAPH Asia 2016 to celebrate the 25th anniversary of Terminator 2, Williams and Dippé recount their efforts to create that memorable shot, known as CC-1.
You might have seen former ILM visual effects and animation supervisor Steve ‘Spaz’ Williams pop up on vfxblog quite a lot recently. That’s because he was involved in a number of seminal VFX films celebrating their various anniversaries of late, including Terminator 2: Judgment Day and Jurassic Park.
Williams was also involved in another landmark – and somewhat notorious – moment in visual effects, when George Lucas revisited his original Star Wars trilogy for the ‘Special Edition’ releases. In particular, Williams was asked to animate a digital Jabba the Hutt for a deleted scene from A New Hope when the gangster confronts Han Solo on Mos Eisley.
The scene had been shot for the 1977 release using a stand-in actor (Declan Mulholland) for Jabba, with plans to realise the sequence with a puppet or stop-motion character. But, as Williams recounts in this chat with vfxblog, it wasn’t until the ‘Special Editions’ – released 20 years ago this week – that Lucas felt he could take advantage of advancements ILM was making in CGI to complete the scene and have Jabba moving along the ground, unlike how audiences had previously witnessed the creature in Return of the Jedi. Continue reading “You’re a wonderful human being: re-visiting CG Jabba 20 years later”→
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 released on August 1st, 1997 and contained over 400 vfx shots – a huge amount at the time – that were completed by 22 companies, with ILM as the lead vendor.
Spawn was a much anticipated film, made at a time before the explosion in comic book movies. It was a tough shoot for the first time feature film director, and an ambitious production in terms of its visual effects. Dippé and Williams are speaking this week, with Scott Ross, at SIGGRAPH Asia about their work on Terminator 2. In the spirit of looking back and key visual effects projects, vfxblog spoke to them briefly about the challenges of bringing Spawn to the screen. Continue reading “The struggles – and successes – of Spawn”→