![]() |
|
May 1990 |
|
(outside U.S. - add $5.00 each for postage) |
|
|
For their thriller,
The
Hunt for Red October, producer Mace Neufeld and director John McTiernan
had to create not only realistic interiors for state-of-the-art Soviet
and American nuclear submarines, but also convincing exterior footage of
these high-tech warships in simulated underwater environments. Working
with large-scale models, effects team members at Industrial
Light & Magic - under visual effects supervisor Scott
Squires - responded to the challenge by outfitting a cavernous new
stage and employing single-pass motion control to record deep-sea submarine
material in dense smoke. Article by Mark Cotta Vaz |
In Tremors - a Ron
Underwood film from a script by S.S. Wilson and Brent Maddock - four subterranean
predators invade a small desert town. Hired to design and build the
creatures were Tom
Woodruff, Jr. and Alec
Gillis of Amalgamated
Dynamics. Working with physical effects supervisor Art Brewer
on set, the creature crew engineered footage of fearsome monsters erupting
from the ground and striking out with powerful jaws and tentacles.
Later they scaled down their creations and worked closely with Robert
and Dennis
Skotak in the production of intercutting miniature effects. Article by Jody Duncan Shannon |
With the fifth entry in
the Star Trek feature series, first-time director William Shatner
set about to transport the Enterprise and her crew beyond the final
frontier to a place thought to be inhabited by God. Selected as visual
effects supervisor for the project was Bran
Ferren whose facility - Associates and Ferren - labored to produce
the effects relating to the fabled God planet and the cosmic barrier surrounding
it. Serving as subcontracter for the motion control model photography was
Peter Wallach Enterprises and supplying most of the composite work
was The Optical House. Article by Paul Mandell |
|
Online Store | Ordering Information | View Your Shopping Cart | Site Map |
![]() |