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April 2004 |
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(outside U.S. - add $5.00 each for postage) |
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In an
exclusive interview, Oscar-winning visual effects maestro Phil
Tippett, founder of Tippett
Studio -- one of the industry's top-rated computer animation facilities
-- discusses his recent foray into film directing, with Starship
Troopers 2, and the remarkable 27-year career that has carried him
from stop-motion animation in Star Wars to go-motion in Dragonslayer
to 3D character animation in Jurassic Park and beyond.
Interview by Joe Fordham |
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Unflinching
in its depiction of the crucifixion of Jesus Christ, Mel Gibson's controversial
film, The Passion of the Christ, presents the horror of the event
like no other. To realize his vision, Gibson chose makeup effects creator
Keith Vanderlaan and his company, Captive
Audience, to handle all of the film's effects work, marking the
facility's debut as a full-service shop. The result was a deft blending
of makeup and animatronics with sophisticated digital effects to deliver
shockingly realistic images in the service of Gibson's gritty interpretation.
Article by Jody Duncan |
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Having
transitioned successfully from traditional matte painting to the digital
backlot approach used in modern filmmaking, Matte
World Digital is one of a handful of companies to survive the
swift technological advances in the visual effects industry over the
past decade. Co-founder Craig
Barron details the company's efforts to stay at the forefront
of the digital revolution and its impact on his craft, as canvasses
and bushes gave way to computer workstations and sophisticated software
tools.
Article by Jody Duncan |
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Based
on the graphic novels of Mike Mignola, Hellboy features the
demon head of an occult crimefighting team gathered to counter the
forces of evil. Charged with delivering the effects-heavy film on
a modest budget, director Guillermo del Toro relied heavily on practical
effects by Nick Allder and makeup and animatronics by Cinovation
Studio, Spectral Motion and DDT Efectos Especiales. Complementing
the practical effects were some 800 visual effects shots featuring
miniatures, CG environments and character animation, with visual
effects supervisor Edward Irastorza and principal vendors Tippett
Studio and The
Orphanage leading the effort.
Article by Jody Duncan |
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The
Matrix Revolutions -- the final installment in the Wachowski
Brothers' post-apocalyptic trilogy -- marked the close of a four-year
odyssey for visual effects supervisor John
Gaeta and ESC
Entertainment, the company formed to lead the visual effects
effort for both sequels. Working with effects vendors and physical
and miniature effects teams in the U.S. and abroad, Gaeta and
his collaborators devised new virtual technologies, and in Revolutions,
capitalized on those advances to deliver stunning scenes of the
machine world's final war against humanity.
Article by Joe Fordham |
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