It’s very nearly the 30th anniversary of Ron Howard’s Willow, a huge effects film full of practical fx, miniatures, optical composites, matte paintings…and digital morphing. This was ILM’s big breakthrough into 2D image manipulation. I recently wrote about for VFX Voice magazine, and you can check out that article here.
I asked Weta Digital animation supervisor David Clayton that question for VFX Voice, in relation to his work on Rampage.
For VFX Voice, I talked to a number of VFX artists who have made the jump to directing: Hasraf Dulull, Victor Perez and Miguel Ortega. Check out the projects they’ve worked on and tips for becoming a director.
20 years has gone fast – I distinctly remember the studio’s first big project, Pitch Black. Trace their path in this story at VFX Voice.
I talked to Scanline for VFX Voice magazine about how they did the waterfall scene for Tomb Raider.
Image Engine gave me some great breakdown pics to go with this VFX Voice story on the art of VFX breakdowns.
There are actually sooo many great effects shots in Willow, but for me it was ILM’s use of ‘morfing’ that made that project so memorable. It’s now 30 years old, and here’s the VFX Voice piece I was able to do on the film.
I talked to Aardman for this story at VFX Voice about their newest stop motion effort, Early Man. Some really nice behind the scenes pics here.
The latest issue of VFX Voice is now out, with Wrinkle in Time on the cover, and has a bunch of content I was able to contribute. I’ll post some links to some of those stories in the coming days.
Previs, postvis and techvis: it’s now pretty much part of all big VFX films. Here’s how The Third Floor contributed its skills to The Last Jedi, at VFX Voice.