The Missing Millennium Falcon — FOUND!

This entry is part 5 of 5 in the series VFX_archaeology

Found: One Actual Millennium Falcon Transitional Variant.   Inquire Within. This image is from the new SOLO, a Star Wars Story art book. It shows an almost completely unknown variant of the early design of the Millennium Falcon, and attributes it to Joe Johnston. This attribution may be in error, …

Digital Makeup Chronicles 2 — The Life of Brian

This entry is part 2 of 2 in the series The dMFX Chronicles

Practically Effective The addition of Digital Makeup in Falling Skies actually expanded the use of practical effects.  I know that may shock some of you to read.  In a time when computer Generated Imagery frequently replaces the practical world, this syndicated, wrapped series bucked the trend.  Practical makeup artists used …

Tracking for FRINGE Effect — Performance Transfer in Production

Grabbing an Actor’s Performance In 2008 concepts and methods developed working on 3D conversion for IMAX films combined to solve a problem at Zoic studios for the Bad Robot TV series FRINGE. Those IMAX3D films required large amounts of match moved geometry to generate depth information.  During that time I …

AG_NEWS: How To Scan A Person In Less Than Five Minutes — Article Link

AG_RapidCapture In The Open Something I am working on, provided an opportunity for a recent article with VFX author Ian Failes covering one of the techniques in my AG_RapidCapture series (in development).  Essentially trying to get down to bare bones photogrammetry, best practices, rig designs, and so forth.  This article …

VFX Archaeology: Part 4 — Nurnies and Greeblies

This entry is part 4 of 5 in the series VFX_archaeology

You can’t talk about #greebles without mentioning, likely the most iconic miniature ever shot, the #starwars #stardestroyer at only 3 feet long -@FonHDavis   Context is Everything Modern cinema maintains a series of technical terms via oral tradition, that really no longer make sense. How many people really itnow the origin of terms like …

VFX Archaeology: Part 3 — Starship Troopers

This entry is part 3 of 5 in the series VFX_archaeology

Recollections of BOSS FILM STUDIOS     A recent post of one of my photos from Starship Troopers on social media erupted into a lengthy discussion about the BOSS Film work, some of which has heretofore received little mention.  Following is a summary of that discussion, beefed up with a little …

VFX Between Shots — Get Up and Build Something Real

This entry is part 1 of 1 in the series VFX Between Shots

  With Your Own Two Hands When I was a kid, I built things with my hands.  Clay, wood, paper, tape, wire, and film combined together were enough to make a movie. If you had a motion picture or still camera, you could forge the materials of this world into worlds of …

Lost Concepts: Part 3 — Falling Skies

This entry is part 3 of 4 in the series Lost Concepts

Concept Art by Johnathan Banta As part of any creative process, there are a lot of abandoned avenues and choices. When a final  design concept is approved, all other art is shelved and a final creation guided from approved art. It is an evolution, sometimes directed, and occasionally as a …

How We Faked The Moon Landing: Part 4 — The Visual Effects of Magnificent Desolation

To the IMAX Moon and Beyond Moon Flight Science! 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 …

How We Faked The Moon Landing: Part 3 — The Visual Effects of Magnificent Desolation

This entry is part 3 of 3 in the series Magnificent Desolation VFX

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 …

How We Faked the Moon Landing: Part 2 — the Visual Effects of Magnificent Desolation

This entry is part 2 of 3 in the series Magnificent Desolation VFX

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 …

How We Faked The Moon Landing: Part 1 — the Visual Effects of Magnificent Desolation 3D

This entry is part 1 of 3 in the series Magnificent Desolation VFX

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 …

VFX Archaeology — The Lost Empire Strikes Back

This entry is part 2 of 5 in the series VFX_archaeology

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 …

Gorilla VFX: Episode 3 — Fun With Toys and Mirrors

This entry is part 3 of 3 in the series Gorilla VFX

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 …

The Force Awakens, and the State of 3D conversion

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. …

VFX Touchstones: Part One — The Code Breakers

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 …