![]() |
|
October 1982 |
This issue is out of print
and available only as
black-and-white photocopies
of individual articles.
When producer Steven
Spielberg decided to raise hell in suburbia, he presented the cinemagicians
of Industrial
Light & Magic with their most formidable assignment to date.
Poltergeist visual effects supervisor Richard
Edlund, along with a dozen key members of his ILM effects unit, discusses
the arduous creation of ghosts and goblins, passageways into other dimensions,
imploding houses and numerous other paranormal phenomena. In addition,
mechanical effects supervisor Michael Wood explains the complexities
involved in bringing menacing trees to life and in trying to defy gravity,
while Craig
Reardon discusses the film's queasy makeup effects. Article by Paul Mandell |
Extraordinary challenges
foster extraordinary ingenuity and innovation. Such was the case when superstar
producer-director Clint Eastwood approached Apogee,
Inc. with his Firefox project. As scripted, the film included
a pivotal effects sequence featuring a fictitious pair of shiny metallic
warplanes engaged in aerial combat against an optically foreboding environment
of bright skies and sunlit clouds. Apogee rose to the challenge by
completely rethinking the basic tenets of traditional traveling matte work
and devising an altogether new process, along with a number of auxillary
technologies and techniques designed to suspend audience disbelief. Effects
producer John
Dykstra, and seven key members of the Apogee team discuss the highs
and lows of the landmark production. Article by Paul M. Sammon |
|
Online Store | Ordering Information | View Your Shopping Cart | Site Map |
![]() |