In October 1996 the best place for any devotee of Star Trek to be was the Starfleet Shipyards. These are not the in-cannon fabled shipyards of Mars, nor are they the near earth orbit construction dry-docks. They are definitely not a large ground-based construction facility in Iowa. The Starfleet shipyards were in Marina del Rey California, in the backyard of BOSS film studios at the shops of renowned model maker Greg Jein.
Greg Jein is associated with almost every incarnation of the USS Enterprise up until Star Trek Deep Space Nine, as well … Continue reading
To the IMAX Moon and Beyond
Filming on location is not an option.
On September 23, 2005, Magnificent Desolation: Walking on the Moon in 3D released on giant IMAX screens. It is a 4K stereo3D experience of the moon landings, and speculative missions from the past and future. The film was honored with the first Visual Effects: Special Venue award by the Visual Effects Society in 2006. This multi-part article is based on a presentation about the … Continue reading
To the IMAX Moon and Beyond
We didn’t have their giant rockets, so we faked it later.
On September 23, 2005, Magnificent Desolation: Walking on the Moon in 3D released on giant IMAX screens. It is a 4K stereo3D experience of the moon landings, and speculative missions from the past and future. The film was honored with the first Visual Effects: Special Venue award by the Visual Effects Society in 2006. This multi-part article is based on a … Continue reading
To the IMAX Moon and Beyond
The Moon landings were real — we faked it later.
On September 23, 2005, Magnificent Desolation: Walking on the Moon in 3D released on giant IMAX screens. A 4K stereo3D experience of the Moon landings, and speculative missions from the past and future — which at the time was IMAX’s widest opening stereo3D film with 70 prints worldwide. Produced and narrated by Play Tone/Tom Hanks, directed by Mark Cowen, with Cinematography … Continue reading
Exploring the Evolution of a Lost Shot From Script to Screen
[Image from the Empire Strikes Back Blu-ray. Color correction emphasizes blue spill that was normally lost to viewer.]
The near final shot of The Empire Strikes Back (TESB) of the Millenium Falcon flying off into the sunset — or rather the ten thousand sunsets of a spiral galaxy — is one of the most iconic, and oft-printed promotional images from the film. Due to the amount of time it takes to preduce the material to coincide with the film release, magazines, album covers, and … Continue reading
Join VFX. See The World!
I love my Skechers Midway tennis shoes. Older, used pairs of the shoe sit in the back of my closet in vain hope for a re-issue of the particular model — eventually I face reality and have to throw them out. I really like how the shoe looks, but the old shoes are more than just footwear; the shoes in many ways are memories. those shoes have walked in my footsteps, and are now … Continue reading
Simple and Fun VFX Distraction.
We all love high end Visual Effects, but anyone who loves them as much as those who do it for a career, sometimes enjoy the simplicity of doing things the film school/garage band way. As kids we devoured Cinemagic, and Cinefex magazines, and hand back-wound super-8 mm cartridges, to try and do visual effects like the pros. That was how the pros did them. Even Ridley Scott pointed out at the Visual Effects Society … Continue reading
Star Wars: The Force Awakens Stereo Conversion is Awe Inspiring and You Should See It.
In a darkened IMAX3D theater I saw Star Wars: the Force Awakens for the second time. My first viewing was at the Motion Picture Academy screening with JJ Abrams, Kathleen Kennedy, Roger Guyett, and many others. I was already pretty impressed with the film, and I had a few complaints, but they were minor. As I watched it again, on a gigantic IMAX screen, at twice the brightness of a standard 3D projector, drowned in chest thumping sound, I was … Continue reading
Writing Code For VFX Solves Problems, and Motivates Others
It is my supposition that everyone in the visual effects business should learn to program, even a little bit, as it opens avenues that were once barriers. Whether writing the code, or just “breaking the code,” it is necessary to expand your … Continue reading
“I sit on the beach, drink instant coffee, and dive when I can.”
On April 5, 2015, The Digital Makeup Initiative, Stereo VFX, and Stereo Conversion Communities lost one of its pioneers. Jason Jue, VFX supervisor, compositor, and avid diver passed away. Those who knew him grieve with his family, and are all taken aback by the sudden happenings that pulled him from this world. What I can say most about him is that he was my good friend.
Jason was the third employee of Sassoon Film Design (Santa Monica, CA). Jammed into a one room office … Continue reading
The Digital Legacy of One of the world’s first 3D scanned actors.
I’d hoped to have written this before it happened.
You never know how much you appreciate something, or someone until they are gone. I was one of the generation raised in a world where the name SPOCK meant something more than how to raise children. The character that Leonard Nimoy created on Star Trek gave was an ideal of logic, and personified our struggle to overcome or embrace emotion. Mr. Nimoy gave us an unforgettable performance, and … Continue reading
The Lost Concept Series explores production designs by Johnathan Banta that never saw the light of day — until now.
There is always so much work that goes into an entertainment property that no one ever sees. Were it not for the books that chronicle the preproduction of Star Wars, the world would have never seen many of the concepts that led to the designs we love (designs which now grace the prequel … Continue reading
Digital doodle on custom made background. This was an exercise in creating an ink-stained paper look from scratch with digital paintbrushes.
It Came From the 1990’s
Okay, this will take a little bit of back-story…
Early Digital makeup.
In 1997, I started to write an article in conjunction with Digital Domain’s Andre Bustanoby (fresh off of Titanic VFX) for the (now archival) website VFXHQ. This article was to chronicle what we saw as the beginning of … Continue reading
Digital Makeup Shines at VES Awards
The Visual Effects Society has nominated Hemlock Grove as one of its finalists for best visual effects in a television program. It is an achievement to have digital makeup effects (dMFX) nominated for such a prestigious award, and hopefully a trend for the community at large for acceptance of the craft. It is an honor to be part of that crew, and to be nominated by our peers.
Below is a press release about the work, and a link to a video showing some of the many shows in 2014 involving the dMFX, and MFX teams in the united … Continue reading
Drew this in 2011 inspired by an involved process starting with a new client. It’s funny how often this rings true.
Using Motion Vectors as Fluid Forces
I was stuck. The particular scene In front of me required that a character from existing footage be combined with tentacles of my own making, repositioned to come out of water at the edge of screen, combined with a sky matte painting, and fling water off of its body at every flick or tiny movement. Time was as usual, short, and running out.
Since I was not planning on … Continue reading
Almost Human Concept Art
Occasionally a sketch can become something else. I have taken to the iPad for illustration, as many have over the past few years. it is convenient, and allows me to do more finished work as well as sketch on-the-fly. Tasked to do some concept illustrations for the series Almost Human, I quickly re-purposed one of my sketches for varying concepts of android design for the (unfortunately) cancelled show. Here are some of them:
The unique … Continue reading
Evolution of a Design
Story update: Joe Johnston on Twitter said that he did not do the original drawing that inspired the illustration in the middle of this article (done for research purposes only, and not an official StarWars art piece), and that he only used the cockpit and radar dish as elements. This design I saw might therefore be the work of one of the other artists on Star Wars. It could represent an alternate direction rather than a step in the evolution of the current design. That said, this is not to mislead, but now is a … Continue reading
The Pride of Frankenstein
This gallery contains 10 photos.
Two Simple Tricks For Professional Results.
After Jumanji it was all about gamma blasting to check the black levels, but with the 2002 Spider-Man talk at SIGGRAPH, two new composite analysis methods came to the forefront to improve quality — and almost nobody noticed.
There he was, John Dykstra, at the front of the theater at SIGGRAPH talking about the work Sony Imageworks did for the first Spider-Man movie. Discussions on character rigging, virtual cameras, web dynamics, digital New York — … Continue reading
It is easy to fall into a pattern or style of illustration. To break the monotony, or creative block I occasionally like to apply an exercise I learned in Art School. The fact is, with a slight application of imagination, even a scribble can look like a face. Therefore scribble on a page, and find the face. I figured this would work for spacecraft as well.
This illustration is named AXLE. It … Continue reading
One Year of Content and Cool Directions.
Well folks, it is officially the first anniversary of the AG_Punkwerks blog (Sept. 11 is the actual date, but it went live in October). Thanks for your readership, and continued enthusiasm for the odd collection of things roughly hung from the limbs of a tree named VFX. Old stuff, new stuff, stuff nobody has seen, and stuff to talk about. You know, lots of stuff — eventually.
What are the results? Many ongoing series:
1. Articles covering the VFX War raging between VFX workers/facilities and government kickbacks throughout the world. More to come … Continue reading