ILM gets animated Video
ILM gets animated Video Transcript
-You ain't from around here, are you? -I'm still working on it. So, what's your name? -Beans. -That's funny kinda name. -Hi, I'm Daniel Terdiman from CNET news and this Rango from director Gore Verbinski. It's also the first animated feature of that Industrial Light & Magic has worked on after more than 30 years of live action movies. Last week, we got a chance to visit ILM and talked to a visual effect supervisor and one of the lead animators on the movie about what it's like to treat an animated feature like a live action movie. -Well, early on we realized that we didn't know how to make an animated feature, so we actually reached out to the community and had people come in and talked to us, entails about how to make an animated feature and really early on, I realized that we're actually breaking a lot of the rules of how animated features are being made and that we weren't actually making new standard animated feature. So, in the end, it actually really came to the-- that we were kinda make a live action movie. So, a lot of what our backgrounds were coming from a live action background really helped out and really actually became a benefit and a strength for us rather than being maybe a detriment that some people thought it might be. So, we have really great artwork, 2-dimensional artwork from Crash, he's the production designer, for each character, but the problem with that is that you don't know what the character looks like from all angles. So, we would make in the computer what we call a [unk], which allows us to actually look at the character from all different angles so that we could check the proportions and check to see, you know, how they're gonna look from the back or from the side. So, our modelers would spend about 3 days making this [unk], and this was kind of new process for us at ILM. We haven't really done this before, but we found out that it actually really-- actually, the process is faster for us, because we can get a buy up on a proportions of what the characters gonna look like before we did all that really hard work of adding hair and dirt and grime and things like that. -We wanted this film to be greedy and dirty and sweaty. Everyone should be able to smell the breath of the characters. -So, we looked at life as we always do in ILM and for some clues. This has gave us some interesting textures and markings and, you know, it seems like that is Rango's eye, I mean, eyes wild, you know, these flicking different directors and they can even cave in, which we can go nearly that crazy rhythm. -On the animated feature versus a live action film, we were way more of a hunk. It was really, really rewarding and artistic process. It was great. -Help! Help, open the door! -It was like a little feeder troop full of talented actors running around acting like cartoons and it was definitely a joy to watch and extremely informative for animation. -As long as it sounds a sheriff, you can believe that there's law and order in this town. -They shot the movie like they were making a movie. No different except less vocations and the props weren't quite expensive. -[unk] neighbor turns on neighbor, pretty soon, we're eating our children, dogs and cats are getting together to create all sorts of unnatural mute and appartion.
Muscle by muscle, bone by bone, the Industrial Light & Magic visual effects designers are using new software to create the scariest and most expressive animated monsters yet. CNET News.com's Kara Tsuboi goes behind the scenes of Paramount Pictures' new kids' film, The Spiderwick Chronicles, to learn more.
The new movie Iron Man may be based on the 1960s comic strip, but its special effects are anything but vintage. CNET News.com's Kara Tsuboi talks with the visual and animation supervisors at Industrial Light & Magic about pushing the limits of computer-generated images to create those "Marvel moments."
This video features the use of live-action animation and dancing magnet men. Features Richmond's Los 10 Space. Scott DuPre Mills: Keyboard, Guitar. Mason Mills: Bass. Mark Zipp: Drums.
Movie visual effects master John Knoll and his brother built Photoshop as the result of a hobby. At the time, Knoll was working full-time at Lucasfilm's Industrial Light & Magic. Knoll, who was nominated for an Oscar for his work on Pirates of the Caribbean II, talked with CNET's Veronica Belmont about how he built the program.
Incredible visuals combining live action and animation spark this video from the Gorillaz.
Named Best Film at the recent Australian Academy Awards and winner of the Discovery Award at the 2005 Toronto Film Festival, "Look Both Ways" is the first feature written and directed by Sarah Watt, an acclaimed creator of animated shorts. Mixing animation and live action, "Look Both Ways" follows the misadventures of Meryl (Justine Clarke), a woman who sees disaster everywhere. One day Meryl is witness to a real accident that connects her to the lives of others affected by the tragedy, among them Nick (William McInnes), a photographer emotionally inhibited by his own fears. As Meryl and Nick tentatively attempt to connect, their story is shot through with humor, whimsical insight and compassion.
With the 2007 Academy Awards approaching, two nominated animators from Industrial Light & Magic sat down with CNET.com's Veronica Belmont to discuss working on Pirates of the Caribbean: Dead Man's Chest.
How do you make a 30-foot robot/semi-truck appear lifelike? What about a creature with tentacles for a face? Those were some of the challenges for the visual-effects teams at San Francisco-based Industrial Light & Magic. CNET News.com's Kara Tsuboi talks with the designers behind Transformers and Pirates of the Caribbean: At World's End about some of the hurdles involved in creating special effects for an increasingly sophisticated moviegoing public.
"A Scanner Darkly" was animated entirely by digital rotoscope, a notoriously difficult and time-consuming process. The new movie was produced using a new software called Rotoshop. Here's a segment of the film.