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February 1989 |
This issue is out of print
and available only as
black-and-white photocopies
of individual articles.
The issue of visual effects
had to be addressed early in the planning stages for Star Trek - The
Next Generation. With fifty or more quality effects shots needed
for each weekly episode - and only a modicum of time and money to spend
on them - an alternative to film opticals was considered essential. Aware
of advances in video effects technology, the producers turned to two of
the most progressive video postprodiction companies in the business - The
Post Group and Composite
Image Systems - to take them where no television series had gone before. Article by Glenn Campbell and Donna Trotter |
At the end of David
Cronenberg's horror hit, The Fly, Veronica Quaife is left pregnant
with the child of Seth Brundle, uncertain of what effect the mutant housefly
genes that destroyed her lover might have on their child. First-time
director Chris
Walas - who as makeup effects supervisor had won an Oscar for the first
film - was given an opportunity to explore the possibilities in The
Fly II. Reuniting key members of his makeup and effects unit
for the sequel, Walas translated onto film the physical metamorphosis of
young Martin Brundle from normal human being to murderours mutant insect. Article by Robin Brunet |
In a serendipitous merging
of skills, equipment and opportunity, Oxford
Scientific Films was founded by a group of university zoologists
intent upon photo-documenting the microscopic wonders of the world
surrounding them. Before long, the fresh perspective
they brought to motion picture problem solving led to their involvement
in a variety of feature film projects. Today - expanded into a full-service
facility - Oxford Scientific is a respected leader among British
effects studios. Article by Pamela Duncan Looft |
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