ILM did this:

Yes indeed sad. I actually heard it from someone this past Spring, that TSL was headed that way. Though I was told in confidence. Hopefully all the folks down there will make it somewhere. I was always a bit iffy about TSL's arrangement in Disney if you remember. It seemed to always go the Warner Digital route.

Wouldn't it be kinda funny (or maybe ironic) if Hoyt Yeatman joined his old buddy Squires at ILM? Or maybe Disney can sell it back to Hoyt (highly unlikely knowing how the Mouse works)

 

It would be cool if Yeatman had at least some assets handed back to him. But, as you know DQI entered into a buyout agreement years before the name change. So,if they had trouble staying independent before,the climate right now is pretty hostile for a large, full-service effects house,unless you're ILM, a small boutique, producing your own films, or are tied to a larger studio.
Of course, ILM apparently could use an extra supervisor or two.

 

And lets not forget that also Eric Brevig is at ILM, another co-founder. Besides Hoyt is a traditional guy like Muren and other veterans, he knows blue screen and motion control and stage shooting. He could either be independt like Edlund or join an outfit. The other big one would be Imageworks, especially now that Robert Legato has left.

I guess you heard also that Square Pictures was going to be closed down. Though I think many people will just continue working at Square USA or in Japan on games.

 

Yeah, I did hear that. Animation is a tricky business. BTW, we need to get The Cynic, Bonehead, JVS, dr.CGI,and the rest of the ILM crowd in here while we await the re-opening of ilmfan.com.

 

Well some of them have already emailed me, but it might not be necessary. Just keep checking the site every couple of days. I'm shooting for to have the forums open on Monday. I'm still trying to bring back all the old threads that I was able to rescue, but I only got them in HTML, not the flat text database. So I'm writing some Python scripts and PHP ones to try to convert them over. Unfortunately I'm not good with regular expression, which would make it a lot easier.

Of course everyone is invited here, just be gentle with the server ;-).

 

Jon Knoll talks a lot about the decision when to use which technique in visual FX. He's one of the supervisors at ILM, and he has to decide whether an effect would be done practically or via CG.

A few years ago this decision was a little easier, for example regarding pyro-work. When it came to explosions, they used practical FX, i.e. they blew up models. They used it even for the Phantom Menace, but the decision get's more difficult, because with today's software you CAN create CG-explosions that look real. But as I said in my previous post, it's not economically. It's cheaper to blew up a physical model.

Another example are full size creatures. A few years ago it there was no questions whether a creature should be done in CG when it was visible from head to toe... it HAD to be computer-generated. But regarding the effects on Jurassic Park 3, they used Stan Winstons animatronics even in such scenes, and added the rest of the creature's body afterwards digitally.

I think it's nice to see that even after visual-fx-milestones like Jurassic Park or The Phantom Menace digital technology is still evolving... more and more. I don't share the fears of many people that one day there would be only all-CG-actors... it won't happen. And there's a simple reason to this, which Jon Knoll stated in an interview: Even if it would be possible to create a CG-creature, which could substitute an actor, it would be way too much work to realize it... and it would be too costly to use it economically.

Well, in other words: Real actors are cheaper than an all-CG actor would ever be...

 

It's not only John Knoll but most FX veterans say "no" to CG actors (except stunt doubles). Dennis Muren once said the same thing and Ken Ralston also had the same opinion during SIGGRAPH. One day it will be done, kind like "climbing Mt. Everest", a milestone, but it will never substitute real actors for many reasons, economical, technical, etc. as you mentioned.

Yes, each year CG advances more, but even top of the line off the shelf software can't accomplish many things. That's why ILM has a big R&D dept. Even explosions and pyro (like in Pearl Harbor) are still a combination of live elements with CG ones.

 

Hope this won't offend anyone or maybe it's not kosher, so apologies in advance for the shameless plug ;-). I finally opened the ilmfan.com forums last night. Anything ILM or FX, not strictly Star Wars.

ILMFan.com

If this is not alright, the admin can be free to delete it.

 

To get an idea of the sheer amount of films that can be discussed here, I decided to post this list.

From ILMfan.com:

---

[b][hl=black][color=yellow]Here is a list of the film projects ILM has worked on in (almost) chronological order. A few TV and special projects have also been included.

In Production
Total: 12 projects in production or awaiting release, 3 projects not yet in production.


Year Project Client

2005 INDIANA JONES 4 (*) Lucasfilm Ltd./Paramount

2005 STAR WARS: EPISODE III (*) Lucasfilm Ltd.

200? ILM ANIMATED PROJECT ????
2004 VAN HELSING Universal

2003 PIRATES OF THE CARIBBEAN Disney

2003 HIDALGO Touchstone

2003 TIMELINE Paramount

2003 PETER PAN Universal/ Columbia/ Revolution Studios

2003 TERMINATOR 3: THE RISE OF THE MACHINES Warner Bros.

2003 THE HULK Universal

2003 DREAMCATCHER Warner Bros.

2003 MAN OF WAR Revolution Studios

2003 THE HUNTED Paramount

2002 GANGS OF NEW YORK Miramax

2002 STAR WARS BOUNTY HUNTER LucasArts Entertaiment

(*): This project in not currently in production but it's expected to be sometime in the future.

[hr]

Credits
Total: 198 projects completed (178 films,
20 misc projects).

Year Project Client Awards

2002 HARRY POTTER AND THE CHAMBER OF SECRETS Warner Bros.

2002 PUNCH-DRUNK LOVE New Line/ Columbia/ Revolution

2002 BLOOD WORK Warner Bros.

2002 SIGNS Disney

2002 K-19: THE WIDOWMAKER Paramount
2002 MEN IN BLACK 2 Sony Pictures

2002 MINORITY REPORT DreamWorks SKG

2002 THE BOURNE IDENTITY Universal
2002 STAR WARS: EPISODE II "ATTACK OF THE CLONES" Lucasfilm Ltd.

2002 BIG TROUBLE Disney

2002 E.T. THE EXTRA-TERRESTRIAL 20TH ANNIVERSARY EDITION Universal

2002 THE TIME MACHINE Warner Bros./DreamWorks SKG

2002 IMPOSTOR Miramax/Dimension
2001 THE MAJESTIC Warner Bros.

2001 HARRY POTTER AND THE PHILOSOPHER?S STONE Warner Bros.

2001 PLANET OF THE APES 20th Century Fox

2001 JURASSIC PARK III Universal
2001 A.I. ARTIFICIAL INTELLIGENCE
Warner Bros./DreamWorks SKG Academy Award Nomination - Best Visual Effects

2001 PEARL HARBOR Disney Academy Award Nomination - Best Visual Effects

2001 THE MUMMY RETURNS Universal
2001 SWEET NOVEMBER Warner Bros.

2001 THE PLEDGE Warner Bros.

2000 POLLOCK Sony Pictures Classics

2000 PAY IT FORWARD Miramax

2000 SPACE COWBOYS Warner Bros.

2000 THE PERFECT STORM Warner Bros. Academy Award Nomination - Best Visual Effects; British Academy Award - Best Visual Effects

2000 THE ADVENTURES OF ROCKY AND BULLWINKLE Universal

2000 MISSION TO MARS Disney

1999 GALAXY QUEST DreamWorks SKG

1999 SNOW FALLING ON CEDARS Universal
1999 MAGNOLIA New Line Cinema

1999 THE GREEN MILE Warner Bros.

1999 SWEET AND LOWDOWN Sony Pictures Classics

1999 SLEEPY HOLLOW Paramount British Academy Nomination - Best Visual Effects

1999 BRINGING OUT THE DEAD Paramount/Disney

1999 DEEP BLUE SEA Warner Bros.

1999 THE HAUNTING DreamWorks SKG

1999 WILD WILD WEST Warner Bros.

1999 STAR WARS: EPISODE I "THE PHANTOM MENACE" Lucasfilm Ltd. Academy Award Nomination - Best Visual Effects; British Academy Nomination - Best Visual Effects

1999 THE MUMMY Universal British Academy Nomination - Best Visual Effects

1999 OCTOBER SKY Universal

1998 THE LAST DAYS October Films

1998 MIGHTY JOE YOUNG Disney Academy Award Nomination - Best Visual Effects

1998 JACK FROST Warner Bros.

1998 CELEBRITY Miramax

1998 MEET JOE BLACK Universal

1998 REACH THE ROCK Gramercy Pictures
1998 SNAKE EYES Paramount/Disney
1998 SAVING PRIVATE RYAN DreamWorks SKG/Paramount British Academy Award - Best Visual Effects

1998 SMALL SOLDIERS DreamWorks SKG/Universal

1998 DEEP IMPACT DreamWorks SKG/Paramount

1998 MERCURY RISING Universal/Imagine Films

1998 DEEP RISING Disney

1997 TITANIC 20th Century Fox/Paramount

1997 DECONSTRUCTING HARRY Fine Line Features

1997 AMISTAD DreamWorks SKG

1997 FLUBBER Disney

1997 M

 

To get an idea of the sheer amount of films that can be discussed here, I decided to post this list.

Aspects of said films, anyway.

The YJCC or Amphitheatre is better suited to general film discussion. If the only contribution to a movie is ILM effect work, we need to ensure the main focus of discussion on the movie is the ILM contribution.

We don't need threads on the plot / acting of KINDERGARTEN COP, for instance. But if there's something about what ILM did in that movie, fair enough.

Maybe we just need a general ILM effects thread, to catch discussion of these non LucasFilm movies? Maybe this thread is it?


If you have comments and input on where the limits of discussion here should lie, please feel free to contribute to this thread; The future of this forum... (comments, ideas, suggestions wanted)

 

Well you can always discuss how the VFX related to the story if it's applicable, say for example how the VFX help portray the attack on Pearl Harbor. Then there is also spotting the FX in minor films, says does anyone knows which shots in Pay it Forward had VFX? There are some projects I haven't seen, so any insight is appreciated, say like Reach the Rock or Celebrity or The Last Halloween.

I'm still suprised no one has commented on the Harry Potter 2 VFX. ILM worked this time on the Wuidditch match, Dobby and I believe the ghosts. There might be a few things here and there also.

 

Well you can always discuss how the VFX related to the story if it's applicable, say for example how the VFX help portray the attack on Pearl Harbor.

Oh, absolutely!

And I don't mind if threads stray a bit into other topics relating to the movie, so long as the main thrust of the overall discussion is somehow related to the ILM / Lucas Company input, and that the thread doesn't become perminantly sidetracked.

 

ILM did not do ALL the shots in a lot of those movies.

And Memoirs of a Geisha is dead. It is not going to get made.

 

And who said they did? I never claimed that. I only listed projects where ILM contributed something (all, most or even minor stuff). I don't have Memoirs of a Geisha listed. Are you referring to the IMDB list? That has some errors and errs a lot on future projects.

 

Captain Eo. . .Oh my friggin' God!

The humanity! The HUMANITY!





See you Space Cowboy. . .

 

104 for me..

 

130...
Btw. Does anyone know if Dennis Muren will be back for Episode III?

 

165 if IU counted right.

As far as Muren, he is currently busy finishing The Hulk. Besides it's too early to tell ILM won't ramp up for it until next year. Even John Knoll is supervising a film right now. But if I was a betting man I would say that Muren will be back, plus the other 3 originals: Paul Huston, Steve Gawley and Lorne Peterson. I guess it depends on the schedule. For Ep. 1 Muren was the last one to join and start working on the FX. I guess he'll do it as a matter of tradition to say the least.

 

wait a minute, what did ILM do on the Time Machine? i thought digital domain did every thing on it.

just a random note, where the main character talks to that guy who is the libarain in the glass that was shot in the court house in my city.

 

ILM was originally contracted to do most of the work but because of different circumstances they took a lesser role and DD overtook the bulk of the work. ILM did the CG Morlock shots. A lot of Morlocks were Stan Winston's creation but other were CG, mostly when running on all fours. Like the shot when the humans are at that windmill place, there is a Morlock that the chaces Guy Pearce. There is a switch from actor in Morlock makeup chassing Pearce and then switching to a CG one running opn all fours. Ditto also when the Morlock levaes. There is also the Morlock's that chase them in the tunnels or climbing the precipice.

Scott Squires supervised ILM's work and Tom Bertino was the animation supervisor. Illusion Arts, and I believe Cinesite contributed to other shots too. Illusion Arts of course did several of the matte paintings. I believe Cinsite did a few shots of outside the Morlock lair, that kind of skull entrance, but don't quote me on that.

 

I've seen 75... and plan on seeing Ep III (duh), The Matrix Reloaded, and Gangs of New York.

-sj loves kevin spacey

 

The Matrix Reloaded is not an ILM project. The main provider is ESC, formed by a lot of former Manex employees. Tippett Studio is contributing some work for the 3rd movie. But there is also another ILM connection, one of the supervisors for both Matrix sequels is George Murphy, who was a supervisor at ILM.

 

I've seen 81 if you count Episode 3 too.

 

You've seen Episode III? I think there are some folks in 3SA who would love to hear from you...

 

I couldn't wait,I went and got a Delorian and traveled to 2005.