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Now let's look at how to control optical flares using After Effects Lights. And here in this intro composition, we're going to be using three different compositions here, so make sure you're in the right one. I'm going to choose the Flare layer. This has optical flares already applied to it here for you. Just default settings, and I have a fog layer in the background just to make things a little bit more interesting. And you also have light one on the left, light two on the right. These are just Omni lights just regular point lights that just shoot out light in every direction. It doesn't really matter too much here, but when I go back to my Flare layer. And in this positioning mode, this is the key here, not in the Optical flares option just in the regular optical flares plugin here. And the positioning mode, we're going to change the source type to Track lights.

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The P-3C is a land-based, long range anti-submarine warfare (ASW) patrol aircraft. It has advanced submarine detection sensors such as directional frequency and ranging (DIFAR) sonobuoys and magnetic anomaly detection (MAD) equipment. The avionics system is integrated by a general purpose digital computer that supports all of the tactical displays, monitors and automatically launches ordnance and provides flight information to the pilots. In addition, the system coordinates navigation information and accepts sensor data inputs for tactical display and storage. The P-3C can either operate alone or supporting many different customers including the carrier Battlegroup and amphibious readiness group. The aircraft can carry a variety of weapons internally and on wing pylons, such as the Harpoon anti-surface missile, the MK-50 torpedo and the MK-60 mine.

The CP-2044 Digital Data Computer is a single cabinet airborne computer equipped with high-throughput microprocessors, increased memory capacity, a dual bus system, and built-in diagnostics. Improvements to the CP-901 have resulted in a design which dramatically increases performance while maintaining the CP-901 footprint and significantly reduces weight and power requirements. Main shared memory is increased to one megaword, with an additional one megaword available for memory growth. In addition, each of the processor modules contain one megaword of local memory. These design improvements and the use of Ada language will accommodate future processing requirements and keep the system viable throughout the 1990s. Performance improvements are made possible by 15 new six by nine inch printed circuit cards. The CP-2044 features three Motorola 68030 microprocessors and card slots for four additional processors. Functions of the previously external AN/AYA-8 or OL-337(V)/AY Logic Units and the CV-2461A/A are incorporated in the CP-2044.


ECP-315 addresses the design, manufacture, and installation of aircraft wiring provisions for AFC-563 kits in 32 aircraft (18 active and 14 reserve). Ten active and five reserve RORO kits are provided for AN/AVX-1 and 10 RORO kits for AN/APG-66 (active duty aircraft only). ECP-391, Project Rigel, addressed the design, manufacture, and installation of aircraft wiring provision kits in 18 active aircraft and eight RORO kits.

No sooner had artists perfected such techniques within the monochromatic world of early cinema, than along came colour. Now it wasn’t just a matter of matching light and shade, but also hue.


However, filmgoers had to wait until 2007 for a movie that put the sun front and centre. For Danny Boyle’s Sunshine – in which humanity’s guardian star was almost a character in its own right – MPC forged three categories of sun shots, using Autodesk Maya to model the basic geometry of the star, combined with particle and fluid systems to generate the complex motion of its blazing surface.

In terms of the elements pipeline, the VFX work was made available to us in comp scripts containing all the constituent elements and layers that we needed for the conversion. We used our proprietary tool, AssistedBreakout, to render out smaller “minicomp” versions of the huge VFX files, giving us a more manageable script. Without this, the breakout process would have been manual, and taken skilled artists much longer to perform.


It had a roughly ovoid shape, looking like someone had stirred silicon chips and wiring into a mold before casting it into its current shape. Next to it lay a small humanoid boomer body, what was to have become Adama.

The AN/ALQ-158(V) Adaptive Controlled Phased Array System [ACPA] VHF sonobuoy receiving antenna system amplifies reception of sonobuoy signals. The ACPA now consists of: Two AS-3153/ALQ-158(V) Blade Antennas are installed; only omni-directional reception is provided; AM-6878/ALQ-158(V) Radio Frequency Amplifier equipment receives and amplifies the signals sent from the blade antennas and passes these amplified signals on to the AN/ARR-78 ASCL receiver.


As the kettle industriously hissed away at heating the water, he leaned against the countertop to wait. His expression turned serious as his mind restlessly mulled over his concerns about Linna. He was more than a little concerned now; she'd been unusually quiet before and during the hardsuit testing, her usual bounce and verve completely absent. Disappearing immediately after her suit had been tested wasn't like her, either. She'd refused to even make eye contact with him the entire time he'd been there, almost going out of her way to avoid him entirely. Since it was partly his fault that she'd lapsed into this state, he had to find some way to snap her out of it.

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The operational concept for the P-3C Update III and P-3C Update III AIP Aircraft remains the same as previous updates to the P-3C Aircraft, to provide tactical surveillance, reconnaissance, strike support, fleet support and warning, and monitoring of electromagnetic signals of interest for intelligence analysis. Patrol squadrons operate with nine aircraft from established Naval Air Stations (NASs) world wide. The P-3C Update III and P-3C Update III AIP Aircraft continue the P-3C's capability of operating one or more aircraft from remote airfields with no organizational or intermediate support for short periods of time.


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During the scene, the gown worn by the character Christina burns away to reveal her burned flesh beneath. How did you achieve the transition?

Read the full story behind the visual effects of Avengers: Age of Ultron in Cinefex 142. For this latest Marvel spectacular, VFX supervisor Christopher Townsend oversaw a visual effects team that included ILM, Double Negative, Animal Logic, Luma Pictures and Framestore, with special effects supervisor Paul Corbould and the mechanical wizards at Legacy Effects lending practical effects support. Buy your copy of Cinefex 142 now!


Issue 142 of the premier magazine for visual effects professionals and enthusiasts goes deep on the VFX of four of this years biggest movies. First up is Jurassic World, which brings together a team including ILM, Phil Tippett and key Stan Winston Studio crewmembers who were there for the first Jurassic go-round. The reunion promises thrills that could only have been dreamed of for the original, made when computer animation and other relevant technologies were in their infancy.

And most of the time, those flares were created with the Optical Flares plugin for After Effects. The Mobile Low Power Prototype Number 1 at the National Reactor Testing Station, Idaho Falls, Idaho, was designed at Fort Belvoir, Virginia. Each project team must consult the organizations responsible for the target development, desktop, testing and/or production environments to ensure that the intended use of the technologies is supported. An illustration of a heart shape; Contact.


The other reason for the depression was less easy to define. Lately he'd been feeling irritable and restless for no good reason, and the fact that he couldn't figure out why was irritating him even more.

Priss flushed at his remark; she'd been pulled over a few times lately for excessive speed, and the THP was beginning to come down hard on her. Bert was willing to bet they knew her by sight by now. If she got stopped too many more times, she was going to be walking for a while. Bert had commented that the exercise might do her some good, and had nearly been clobbered as a result. Priss was glaring at him challengingly, almost daring him to make a smart remark about her driving; he passed on the offer, having no desire to become bedridden again.


Our production team has a great rapport with the Marvel production team, which is invaluable on a big, complicated show like this. We also have great relationships with the VFX vendors, which is crucial when we need to harvest VFX elements early. ILM couldn’t have been more helpful. Their incredible one minute-long opening shot for Avengers: Age of Ultron was one of the last renders to come through to us, and they were there 24 hours a day to assist us with breaking it out for conversion.

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The AN/UYS-1(V) Single Advanced Signal Processor System [SASP] is a digital processor designed for the conditioning, analysis, processing, and display of acoustic signals. The SASP System is comprised of two basic elements. The TS-4271/UYS-1(V)10 Analyzer Detecting Set, also called the AU, is installed with a primary function of processing acoustic signals through the use of a Spectrum Analyzer TS-4271/UYS-1(V). It is protected from power transients by a PP-7467/UYS-1(V) Power Interrupt Unit (PIU). The CP-1808/USQ-78(V) SASP Display Control Unit (DCU), contains a programmable, modularity expandable system containing two independent computer subsystems, a System Controller, and a Display Generator (DG) and is also protected by a PIU. The DG also provides hardware interface to two Commandable Manual Entry Panels (CMEPs) C-11808/USQ-78(V), and two Multi-Purpose Displays (MPDs) IP-1423/ USQ-78(V). The two manual entry panels provide the operator an interface to control system operating modes and MPD visual presentations.

Do you ever find yourself struggling with how to use Adobe After Effects? Whether you're a newbie or a seasoned veteran, plugins can bring value. This list showcases some of the best plugins for Adobe After Effects—they will help boost your productivity, streamline your workflows, open up creative options, and force you to have a little fun. All of the plugins on the list are compatible with Adobe After Effects CC 2021, and at the time of publishing, they range in price from $10 - $60.


One of the more interesting features of optical flares, is that it gives you the ability to make your own lens objects. This is a little weird and honestly I haven't found like a really good use for that, but maybe still not creative enough. So I'm going to show you how to do that here and I have on this real lens flare layer, a real lens flare (visit website). And this lens flare (https://longthanhtourist.com/serial-code/?file=2513) actually has tons of really cool elements happening.

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Many of David Cronenberg’s films contain iconic “body horror” scenes. Was there any sense that you were adding to that body of work?

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With the AN/ALQ-78A Countermeasures Set the existing Countermeasures Set (AN/ALQ-78) is modified by an ECP which improved both maintainability and performance. This ECP was first introduced in the P-3C Update II (ECP-955 for production aircraft and ECP-966 for retrofit aircraft).

First, it's important to understand that when I use the word plugin I'm actually referencing a wide variety of possible tools, including scripts and extensions. Be aware that not all of the product types have the same installation instructions. But don't worry, as each developer will have a document included, showing you how to install and use the plugin. The aescripts and aeplugins website allows you to download trial versions of all plugins, and they even have an installer to help get you up and running. Now let's have a look at the list.


The large blue region is atomic hydrogen seen with the Very Large Array (VLA) radio telescope in New Mexico while many of the red blotches are dwarf galaxies observed with the UV-sensitive GALEX spacecraft. The image was created as part of a study of dwarf galaxies formed from the debris of a collision of larger galaxies.

The relatively bright, grayish areas are the residual cap, and the darker, reddish areas are probably covered by dust. The south polar residual cap is made mostly of carbon dioxide ice and dust with a little water ice in some places. HiRISE was built by Ball Aerospace and Technologies Corp , of Boulder, Colo, and is operated by the University of Arizona.


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He couldn't even see what the hell had fired at him, but it had evidently seen him, despite the range. The approaching barrage was enough proof of that.

She pulled free from him, and ran out the door. Bert watched her go, mentally cursing himself.


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For Forbidden Planet, Buddy Gillespie created wide shots of the alien planet Altair-4 by hanging painted balls – the smallest only six inches in diameter – in front of his background of Scotchlite stars. Dimensional models were still being used in 1981, when Film Effects of Hollywood photographed a large, spherical miniature of Jupiter to create the background vistas seen in Outland. Atmospheric effects were added to the gas giant by superimposing airbrushed artwork over the original stage photography – not to mention the time-honoured trick of smearing Vaseline on the camera lens.


This time however, the boomer was prepared for the tactic. As the shape shot past it after striking the boomer, one of the boomer's shoulder-mounted cannons swung around, tracking the estimated path of its foe. A thundering crash pierced the air, and an orange-red flaming blast lit the cloaking darkness.

The Electronic Flight Display System (EFDS) is an updated version of the Flight Display System (FDS). It is defined as the flight instrument, associated controls, and its interface to the aircraft, and is designed to provide the pilot, co-pilot, or Navigation/Communication (NAV/COMM) Officer with a comprehensive, unambiguous presentation of navigation information adequate for both worldwide tactical andnon-tactical navigation. The display unit uses a flat panel domestic Active Matrix Liquid Crystal Display (AMLCD). The FDS functionally replaces the P-3 electro-mechanical Horizontal Situation Indicator (ID-1540/A), electro-mechanical Flight Director Indicators (FDI) (ID-1556), selected functions of the Navigation Availability Advisory Lights, and integrates GPS navigation with the flight instruments. Additional information such as navigational aid waypoint locations, GPS annunciation, and FDS status pages are also displayed.


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The HeadHunter didn't feel that I was the corporation, which is why it resisted my commands, partly. The other part was that it was becoming a 'loose cannon' shall we say. For the moment, the common interest of the company's well-being is keeping it in line.

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Her eyes briefly met his, then quickly glanced away. Bert frowned to himself; Sylia had never been reluctant to look him in the eye before.


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Ask anyone in the movie industry to list their favourite films, and you might as well pull up a chair and settle in for the night. Monster makers are no exception.

Ant-Man is going to be a whole new challenge, with its own stereo style driven by the scale considerations of the main character. We’re talking to Marvel a lot about how we develop the stereo language for this show. How does our hero look when he is transformed into his tiny form? Does he feel small in a big environment? Or do you imagine the camera has shrunk with him so that he feels normal-sized? This movie is perfect for 3D, because the stereo can play such a huge part in creating a feel for the show, and we can use it to support the storyline. We’re really looking forward to this!


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Visual effects for Maps to the Stars were provided by sole vendor Switch VFX, with the exception of a small number of minor shots undertaken by Deluxe. Under the supervision of its co-founder Jon Campfens, Switch delivered around 145 shots, including matte paintings, set extensions and greenscreen composites.


He’s a very technically-oriented guy, so you can have a conversation with him about what steps are needed to achieve these shots, and he gets it. He also knows when to take a step back. I feel he treats his departments the same way he treats his actors – he wants them to perform as best they can, and he knows to achieve that he doesn’t need to direct every single detail. He was very clear in describing what he was looking for, so after he had taken us through it, he pretty much left us to decide how we wanted to execute it.

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The killer biomechanoid was floundering around on the floor, trying to get a purchase on something in order to get up, but it couldn't. It had become completely coated with the substance, and whatever it grabbed, its hand slipped off of. The boomer couldn't get a foothold either for the same reason. It flopped for a few more minutes, then finally drove its claws into the flooring, which gave it an anchor point to brace itself against. SkyKnight promptly shot the flooring and the boomer, sending into another slick skid across the office. Unfortunately, the boomer slid onto some carpeting, and could then stand up without fear of falling. It surged upright, burning the air with hungrily searching particle beams from its mouth. SkyKnight ducked and weaved around, avoiding the blasts.


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The two women burst through the door to see Nene frantically trying to hold down a wildly thrashing red-haired form. Linna ran over to help her hold Bert down. His face was a snarling mask of rage, and there was a kind of angry horror visible in his feverish eyes.

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The CP-2044 Digital Data Computeris a single cabinet airborne computer equipped with high-throughput microprocessors, increased memory capacity, a dual bus system, and built-in diagnostics. Improvements to the CP-901 have resulted in a design whichdramatically increases performance while maintaining the CP-901 footprint and significantly reduces weight and power requirements. Main shared memory is increased to one megaword, with an additional one megaword available for memory growth. In addition, each of the processor modules contain one megaword of local memory. These design improvements and the use of Ada language will accommodate future processing requirements and keep the system viable throughout the 1990s. Performance improvements are made possible by 15 new six by nine inch printed circuit cards. The CP-2044 features three Motorola 68030 microprocessors and card slots for four additional processors. Functions of the previously external AN/AYA-8 or OL-337(V)/AY Logic Units and the CV-2461A/A are incorporated in the CP-2044.


They have their team of creatives – who are also shareholders – who come together and critique each other’s films. The Tiny Think Tank is our low-budget UK version of that, and I think it’s one of the reasons Robot Overlords got made.

Most of the shots in Maps to the Stars were straightforward and seamless, so not much was required creatively. However, the fire sequence was very much a back-and-forth process with David, because the outcome was very important to him. As everyone knows with fire and water simulations, you set one up and see what the outcome is, so we had to go through quite a number of simulations before he was happy. Overall, David was a pleasure to work with.


Miniatures have incredible perspective, but matte painting can create a sense of atmosphere and distance better than a model. Combining the two techniques is like making an alloy in metallurgy – the combination of the two ingredients is stronger than either by itself.

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Bert quickly donned his helmet again to keep his expression hidden, knowing he wasn't going to be able to keep a straight face. Besides, he didn't want Leon recognizing him. Nene shot him a quick glance, apparently reading his mind. She quickly made herself look busy at the portable computer as Leon came up to them.

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Turning, he looked at the rather stunned ADP officer who was standing behind his car with his jaw hanging. He clanked over to the car, kicking some of the scrap littering the ground out from in front of him.

A rather hesitant knock sounded at the door, and he called out that it was open. The door swung slowly open, and Linna stepped through, first glancing around to make sure that nobody else was around. Seeing that he was alone, she stepped into the room. She was casually dressed, in a pink blouse with a sweater over top, and slacks, with her hair tucked under the ever-present headband. From the stiff way she was moving, one got the impression that she was moving almost against her will, as if someone was forcing her at gunpoint into his room. A relieved look appeared in Bert's eyes as he greeted her, and a tentative grin appeared.


The doors screeched and clattered open after he punched in an entry code on the access keypad. He guided the quietly purring cycle through them, and into a vacant parking space. Putting the kickstand down, he shut off the engine as the doors closed. The engine noise faded into the echoing space of the garage as he peeled off the dark blue helmet he was wearing, propping it up on the gas tank in front of him. With a resigned sigh, he swung his leg over, dismounting, and shucked off his jacket, leaving it draped across the seat as he walked across the garage to the elevator doors. They rolled open for him, and he stepped inside. As the doors rolled shut, he sighed again, gathering his reserves for the coming confrontation.

Another thing we did for this sequence was a continuity fix with a reverse angle on Jerome, which required us to remove a waitress, and make her appear on the angle on Agatha. We also had to add some arm movement to the fry cook – in a lot of his takes he looked frozen, like a still image. We did this by rotoscoping out his arm from another take and compositing it into the hero plate. This sequence was mostly handled by Barb Benoit using Digital Fusion.


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As he waited, he heard something sliding, like a visor on a helmet opening. A shattering blast of sound almost burst his eardrums, driving him to his knees in pain, as the glow of the fires was momentarily washed out by several brilliant flares of greenish-white light. There was another sliding noise, and a click, and the boomer hauled him off the pavement. Dr. Miriam Yoshida was unceremoniously dragged by the scruff of the neck into the cloaking darkness beyond the raging fires.


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But it’s really only the tools that change, isn’t it? Everything else stays the same: the intent of the artists; the commitment they show to their task; the skill with which they wield their tools.


Veteran filmmaker David Cronenberg has a reputation for tackling the kind of subject matter that make audiences squirm. His early feature work – which includes Scanners, Videodrome, and The Fly – exposed mainstream audiences to the shock effects of “body horror”, while at the same time getting under their skins with unsettling psychological subtexts.

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Many key scenes featuring the robots were shot using a real-time camera-tracking system provided by Nvizible’s sister company, Ncam. The Ncam system allows a camera operator to view pre-visualised CG assets through the viewfinder, adjusted to conform to the parameters of the lens and superimposed in the correct position over the live-action.

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Leaping forwards in a flashing forward somersault, she tried to nail him with her feet. Almost casually, he leaned sideways, grabbed her ankles, and used her own momentum to send her sailing down to the other end of the room. Linna bounced again, beginning to become just a little annoyed. She must have been more out of practice than she'd figured; she hadn't been able to lay a hand on him yet, and she was just itching to wipe that grin off his face.

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Tim Caplan, Union’s co-founder and lead VFX producer on the film, commented, “It was inspiring to work in Dorset – such a beautiful part of the world – and re-imagine it as it was at the turn of the 20th century. It was also a privilege to work with one of the film industry’s most exciting directors in Thomas Vinterberg. And the project itself was an exciting challenge. The big fire sequence, for example, came with a host of logistical, and health and safety restrictions. We had to work out how to keep that sense of real jeopardy and authenticity in the picture – but without of course endangering any of the cast or crew.

Gritting his teeth and fighting the pain, SkyKnight fired his jets, turning his arcing fall into a sudden, curving swoop that shot him straight back at the HeadHunter. The surprised biomechanoid was smashed into a flying fall by SkyKnight as he flipped around and rammed the boomer feet-first. The silver-clad Knight Saber leaped clear, and began bringing one of his other weapon systems on line.


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He quickly scanned through the reams of data with a sifter program he'd devised, downloading all the pertinent files he was after. He then carefully made sure he'd left no traces behind, and severed the connection. He began to read through the data files, hunting for some kind of clue that would tell him just what had been going on lately.

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Quincy looked up from his desk as the bulky shape of the HeadHunter strode through the door to his office. He watched the armoured green killer approach him expressionlessly, noting that the boomer had suffered the loss of an eye. Mentally, he shrugged; that much could be fixed, at least.


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Every weapon on the HeadHunter fired in an awesome display of firepower as the wounded boomer screamed and jerked wildly; no fewer than five separate particle and laser beam weapons fired wildly into the air, along with the shockwave weapon, and some other unidentifiable projectile weapons mounted in the boomer's arms. Accompanying the weapons discharge, a blue wave of electrical energy washed outwards from the boomer, as a small, interior explosion tore out the left side of the boomer's lower torso, leaving a gaping crater that spat sparks and smoke.

The night suddenly came alive behind and to the right of the boomer as something big and black loomed out of the shadows. Something made a flapping noise in the darkness, and there was a brief glimpse of something glowing bright blue as the dark shape flashed past the boomer, smashing it to the pavement. The boomer flipped itself back up to its feet immediately, as agile as a cat, but its attacker had seemingly vanished again. The boomer maintained a clenched grip on its trophy.


For scenes in which the Sim was required to walk, the lightweight version was used. Legless, it was supported and puppeteered by two performers, most frequently a pair of South African free runners hired for the task.

During the editing process, there were a number of shots where David wanted to add the Hollywood Hills to the original Toronto location. All of them required rotoscoping of the actors and the objects within the frame. Luckily, the shots were filmed outside, and the sky was quite uniform, so we were able to get a rough key for most of it. It did still require a lot of rotoscoping of any fine hair on Mia and John Cusack, as well as moving objects with in the frame.


A modern digital matte painting is created not by daubing paint on to a piece of glass, but by mapping artwork on to CG geometry. In a typical DMP environment, the models used might be relatively crude – perhaps just a series of flat planes or geometry layered up in virtual space. However, the devil is in the detail, and the detail is in the textures.

If there’s one effects artist who has inspired more people in the business than any other, it’s probably Ray Harryhausen. The fantasy epics he made through the second half of the 20th century –heavily populated with fantasy landscapes and stop-motion creatures – have motivated animators, VFX artists and practical effects professionals alike.


The rough, agricultural design of the Sim is carried through to its navigation system – a single laser-equipped lens that constantly scans its surroundings. The Sim’s routine recording of everything it scans ultimately becomes an important plot point, when Jerome accesses its memory and discovers a dark secret. The filmmakers were therefore keen to get the look of the robot’s “Sim-vision” just right.

As a visual effects person, that’s not normally part of your remit. In fact, on many shows, to put forward story ideas would be viewed as a breach of etiquette.


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Robot Overlords will be soon to be released on DVD. In May 2021, the production team will be hosting panels at MCM Comic Con Belfast and MCM Comic Con London.

Top: a scene from “Dancing Pirate” (1936) showing original stage photography. Bottom: final shot composited with matte painting background. Chief technician on the film was Willis O’Brien. Frame enlargements first published in “Movie Makers”, November 1936.


Yoshida and McLaren went over to a large, central control panel. Yoshida flipped a switch, and elsewhere in the building, a generator began to hum. Electricity began to crackle in the air around the prone form, mostly around the large power cable that was currently attached to it. The lights dimmed as extra power from the building's electrical systems was siphoned off for the process. The boomer laughed, a horrible, grating noise that clawed on the listener's nerves.

Production had applied some blood to Julianne Moore’s forehead, face and chest, but it wasn’t enough, and the forehead prosthetic didn’t look real. Throughout the sequence of shots, we added more and more blood and damage to her forehead, and blood spray to the chair and lamp.


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There was at first, but after seeing the film twice, now I’m not so sure. Maps to the Stars deals a lot with apparitions seen by some very unstable people, many of which appear around that same pool area. The immolation scene seems to come out of left field. There is no gas can or anything that would cause her to ignite as she does. We clearly see the pool, but where does her body go after? So I’m not sure if that scene happened at all, or if it was in Stafford’s head – not an unusual thing for a Cronenberg movie, but it was definitely more subtle than his earlier work.

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It began charging across the floor space separating them again. SkyKnight knocked the HeadHunter backwards off balance with a searing particle-laser bolt, then his chemical launcher snapped up, and spat several balls of greenish goop onto the Headhunter's face, covering both of its eyes completely. The boomer stumbled to a faltering halt, trying to claw the gooey mess off of its face with one hand. The hand it was trying to remove the chemicals with became stuck to its head.


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At times, the fire simulations would run into issues when Olivia’s arms were flailing around. For example, there might not be enough voxels being emitted because of the speed of her movements, or the fire might shoot out in wrong directions.


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You tried, but your time is past; you are weak, and beneath my notice now. I shall take great pleasure in killing the rest of the Knight Sabers, and you with them, later. For now, I leave you with the galling knowledge of your defeat.

Bert desperately suppressed the grin that he felt forming on his face, as he rescued the cup before it hit the floor, tossing it into the dishwater. After a few more moments of gasping, she recovered her breath. Her face was still a bright pink colour.


Her right arm was beginning to shake from where she was holding the string of the longbow she was using back at full draw. Bert nodded dubiously, and stepped back and slightly behind her. Priss sighed in relief, sighted down the arrow, and released the nock she was holding. With a low thrum, the string slapped the arm-guard on her sleeve as the arrow whistled down the range, ricocheting off the target frame. The arrow turned some neat-looking spins in the air, and clattered to the floor. Bert sighed again, placing a hand over his eyes.

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He'd thought he had figured her out, but evidently he'd been wrong. He looked briefly at the clutter around his apartment, then sighed. Now he didn't feel like working anymore; instead he felt kind of depressed. Oh well, he did have a cure for that, at least. Sighing again, he went and picked up the phone.

You talked about big VFX shots coming in very late in the day. Since stereo conversion is one of the last jobs to be done, how do you cope with the time pressures?


The tips of the blades suddenly vanished as they were dragged back out of his body with a wet, sickening, sliding noise. Agony worse than before seared him, draining his last few ounces of strength. The dying scientist slumped to his knees with a whimper, then fell over against the wall of the blood-soaked phone booth, staring at the massive green shape that had materialized out of the darkness behind him. The sounds of a shrieking and hysterical receptionist drifted from the phone above him.

Sylia walked down the hallway, hearing a door slam as she did. After a couple of minutes, she stood outside the door to his apartment. Hesitating only briefly, she knocked on the door.


From big to small, from stars to asteroids, the endless expanse of outer space is full of wonders. However, you might be wondering why I’m talking about outer space at all, given that this series of blog articles is titled Dream Landscapes. After all, there’s no land in outer space, is there?

Over the next few years, the night sky and the volume of space that surrounds the Earth are both poised to become very different than they've been for all of human history. As of 2021, humanity had launched an estimated total of between 8,000 and 9,000 satellites, with approximately 2,000 of them still active. As SpaceX's Starlink, OneWeb, Amazon's Project Kuiper, Telesat and other companies prepare to provide worldwide 5G coverage from space (more than 300 new satellites have gone up for these purposes in the last 9 months), humanity is beginning to enter the era of satellite mega-constellations.


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Sylia sleepily rolled over in her bed, looking hazily at the clock as the phone rang. The illuminated dial said it was 11:49 PM. Now who the hell could it be at this hour! She sighed irritably, briefly considering just leaving it to ring, but the insistence of the ringing phone finally drove her to get up and answer it. She wrapped a bathrobe around herself as she walked, belting it securely into place, and then picked up the phone.

In this image (click to enlarge), NASA's Spitzer Space Telescope spots the Serpens South star cluster, which consists of a relatively dense group of 50 young stars - 35 of which are protostars, or stars that are just beginning to form. Stellar members of the cluster are the green, yellow, and orange specks atop the black dust lane running down the center of the image. Green represents hot hydrogen gas excited when high-speed jets of gas ejected by infant stars collide with the cool gas in the surrounding cloud. The wisps of red are organic molecules (polycyclic aromatic hydrocarbons) excited by stellar radiation from a neighboring star-forming region. The Spitzer mission is managed by the Jet Propulsion Laboratory in Pasadena, Calif. Image courtesy NASA/JPL-Caltech/ L.


SkyKnight noted that the boomer had healed most of its earlier battle damage by now, but the regeneration appeared to be slowing down. He wasn't going to complain, however; he was tired himself, sore, and slightly winded. If the HeadHunter was finally seriously hurt from the fight so far, so much the better.

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A quiet, stealthy footstep woke Bert from the light nap he'd drifted into. Opening his eyes, he found himself being regarded by a pair of well-loved emerald green eyes. Nene's face lit up with relieved joy, and he suddenly found himself enveloped in a crushing hug as she threw herself on him and started crying in relief. He carefully wrapped his right arm around her, returning the hug; his left arm still wasn't responding fully, being too painful to move as a result of the wound to the shoulder he'd taken.

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We used Fume FX, but we couldn’t get much information on, or examples of, using it with Maya – and we’re a Maya-based company. So we did a lot of R&D, working through all the kinks, errors, and complications.

They crashed into the Headhunter's chest, and shattered. Instantly, a cloud of what looked like steam hissed forth, and a brittle crackling noise could be heard; a large, white, frosted patch appeared on the boomer's armour.


A miniature asteroid also featured in Armageddon, for which Dream Quest built three practical versions of the giant rock that’s closing in on the Earth. The biggest of these – which was sculpted from foam and mounted on a steel armature in front of a greenscreen – measured a whopping twenty-five feet by fifteen feet. Not quite big enough to destroy a planet, but quite enough to keep a crew of thirty special effects artists busy.

You use a number of proprietary tools that you’ve developed in-house. What are the advantages of doing this?


When it comes to a planet as familiar as the Earth, the real-world imagery made available by NASA and other space agencies has in recent years given filmmakers a wealth of reference material to draw from. When Robert Zemeckis made Contact in 1997, senior VFX supervisor Ken Ralston’s multi-vendor team had access to hundreds of highly detailed satellite photographs, which they re-purposed to conjure up realistic views of the Earth as seen from space.

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As Priss walked over to the cruiser, a slender young woman in a form-fitting ADP uniform came out from behind the van. She was lovely, graceful, and had red hair with emerald-green eyes. Oh LORD, Bert groaned mentally, WHY ME! He fell forward, the forehead and visor of his helmet clanging onto the gas tank of his bike, eyes squeezed shut, praying for divine intervention to get him out of the situation he found himself in. Again, God didn't appear to be listening to him.

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No, the whole film was stereo converted, although there were some stereo renders – for example, the Iron Man HUD shots. Robert Downey Jr. was shot mono on greenscreen for these sequences, and this footage was subsequently stereo converted. The converted shots were then delivered to Cantina, who comped the stereo HUD elements into the shot. Stereo renders of graphics content and transparencies always look better.


An eerie silence swept over the rain-swept rubble. Thunder rumbled again uncaringly. A large stone slab began to shift and move, and it fell outwards with a crash. A dusty, beaten and battered SkyKnight staggered out of the protective overhang that had luckily been created when the slab had crashed to the floor next to him. Rainwater rivulets soon cleansed his suit of the concrete dust that had coated him.

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He whipped around in midair and erupted towards the ground on his howling flight system. The six blocks took mere seconds to cover.

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Since much of the film had been shot hand-held using anamorphic lenses, one of the first challenges for the visual effects team was tracking. Peanut FX handled all the film’s tracking requirements, delivering 3D layouts for roughly 115 shots, mostly with 3D camera and/or object tracks for set extensions and robot integration.

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A switch clicked somewhere in the room, flooding the darkness with revealing shafts of white fluorescent light that reflected in glaring patterns from the heavy lab equipment that cluttered the underground development lab located beneath Raven's Garage. A tall, red-haired young man with greenish brown eyes moved swiftly down the central aisle of the room, finally coming to a stop in front of a set of five semi-cylindrical tubes. The tubes were hardsuit storage bays, and the it was the contents of one of the tubes that held his attention as he lowered a nylon backpack to the floor with a clank.


Even though the crates were covered in green fabric, the lighting conditions meant it was almost impossible for Windmill’s visual effects team to extract Smit-McPhee and the sledgehammer from the background, allowing the Sim to sit behind them in the frame. Much of the keying work was therefore done manually, with artists rotoscoping the action frame by frame, and manipulating the end of the sledgehammer digitally to ensure a good visual lock wherever it made contact with the CG robot. Windmill’s 2D supervisor for Bad Land: Road to Fury was Andy Clarke.

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In total, Windmill Lane Pictures VFX delivered around 250 shots for Bad Land: Road to Fury. As well as the practical Sim, Cosmesis also created special dentures for the main characters, while makeup artist Natasha Du Toit managed a progressive range of dry skin, dirt, sweat and tattoos. A number of scenes were enhanced by blood effects and prosthetics, including two broken legs – one human, one mule – while a range of prosthetic bellies simulated the various stages of pregnancy of Mary Holm (Elle Fanning).

It’s a given that, to be a successful monster maker, you have to love monsters. So it’s not surprising to learn that many of the makeup and creature effects experts working in the business today were inspired by all those classic movie monsters of old.


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Explore any business, and you’ll quickly find there are essential pieces of industry-standard software that keep its wheels turning. In the visual effects industry, one of those is the compositing, editorial and finishing tool Nuke.

Cosmesis created three practical versions of the Simulit Shadow robot. Left to right: Adrian Smith, Gerald Clark Sutherland, Pierre Smith, Anja Rechholtz, Terri Nicole, Lisa-Marie Bothma. Photograph by Clinton Aiden Smith.


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The door to the tech shop banged open as SkyKnight lurched through, stumbling sideways and almost demolishing a nearby workbench. Tortured gasping echoed from his helmet as he grabbed the table with his left arm for some support. The gambit failed, and he toppled to the floor with a loud clang, unfortunately landing on his injured right shoulder. Pained swearing seared the air, as he rolled over and crawled to where he could lean against the wall. Water dripped from his suit as he crawled, leaving wet, smeared trails on the floor.

With low-pitched drone, something big and dark flashed out of the night, blasting past the startled chopper pilots, flicking them with the stinging edges of its backwash as it vanished into the night beyond. Although the object was traveling at an insanely fast airspeed, there was almost no noise to its flight, just the shriek of the air it displaced as it flew.


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The line went dead, and Sylia angrily swabbed at her suddenly watering eyes, hanging up the phone with a bang. After taking a moment to compose herself, she picked up the phone again, dialing Nene's phone number at work; the red-haired computer expert was on afternoon and night shifts all week.

He stood up as the computer whirred away, walking over to the coffeepot on the hotplate on a side shelf. He poured himself a cup, dumping in the usual sugar and cream portions, and carefully walked back to the computer console, trying not to spill his coffee. Sitting down, he swiveled his chair to face the screen again. After several minutes more, the computer found the one record from the prison files that had a boomer-related charge attached; a picture of an arrogantly grinning man with a thin, angular face and red hair appeared in the screen. The colour drained from his face as he stared at the photograph.


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As the boomer slowly stomped down the corridor, the serrated blades on its arm dripped crimson onto the floor tiles, and a slaughterhouse smell drifted from it. Even the most hardened crooks shrank back against the far walls of their cells, as far away as possible from the hostile biomechanoid, praying that the boomer wasn't after them. The boomer went approximately three-fourths of the way down the hall, and stopped at a particular cell, turning to face the door and ripping it free with casual strength.

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Bert sat there for a moment, wondering what had hit him. He began to get a very uneasy feeling that he'd just talked himself into a crash fitness course.


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The sizzling beams carved through the air of the office, throwing everything into sharp relief with their light as they brutally slammed the dumbfounded biomechanoid off of its feet, sending it flying to land in a heap by the far wall. Smoke wafted from deep blast marks on the boomer's torso as it rolled over.

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A tense hush had fallen over the assembled group of spandex-clad hopefuls waiting in the front lobby of the theatre. Small waves of motion occasionally washed through the waiting throng as several people fidgeted nervously, the strain of waiting beginning to fray their already strung-out nerves. Linna was almost in that state, alternately tapping her foot or trying to pace impatiently in the very minuscule amount of floorspace she and Bert were occupying. He'd given up on trying to get her to hold still; she'd probably burst if forced to remain stationary. Although she was trying her best to remain calm, alternating expressions of doubt and hope were chasing each other across her face periodically. Reaching out, he place a reassuring arm across her shoulders, and she gratefully leaned into him, giving him a quick smile.

The Cosmesis team created the final lightweight version of the Sim using vacuum-formed PVC components moulded from CNC-cut Superwood formers for the body and legs. The resulting hollow shell was reinforced with aluminium, which also provided anchor points for the puppeteers to grip. The cargo basket perched on top of the main superstructure was constructed using carbon fibre pipes.


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Bert quickly stuffed the two equipment modules into a nylon rucksack, hefting it to make sure that the weight of the units wouldn't tear the seams; he couldn't afford to have something happen to them to damage them. Slinging the backpack over his shoulders, he settled it into place, adjusting the straps to fit a little more comfortably. He grabbed his motorcycle helmet from where it was hanging on a hook by the door, and then ran out of the shop, flicking off the lights as he went. Within minutes, a blue and silver motorcycle was soon motoring up the streets of the city, disappearing into the dimly-lit darkness.

We were awarded the work on Avengers: Age of Ultron on the back of our stereo conversion work for Marvel on Guardians of the Galaxy. That was a great project to be involved with creatively, and it went on to win an award for “Best 3D Live Action Feature” from the Advanced Imaging Society.


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Also featured during the film’s finale is that most British of icons – a Supermarine Spitfire. The old-school technology of the WWII fighter plane proves pivotal in the battle against the robots, whose jamming devices have grounded more sophisticated jet aircraft.


The counties of Dorset, Devon and Cornwall have featured in films like Barry Lyndon, The French Lieutenant’s Woman and War Horse – not to mention almost every Jane Austen adaptation ever made. They’ve even made appearances in recent big-budget blockbusters including World War Z and Edge of Tomorrow. Coming right up to date, these very English landscapes play a significant part in two new productions – one made for the big screen, and one for the small.

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Bert watched her leave, a puzzled frown forming. Something was bothering her, that much he could tell; she was normally more cheery and outgoing. Oh well, maybe he'd be able to get her to talk about it. He ducked into his bedroom to get changed.

She was a little winded at the moment, something rarely seen for her, and was busy mopping the sweat from her face with her towel. Her performance had been flawless as far as he was concerned. Her dance routine that she'd put together had been both energetic and graceful, covering the entire stage space in flashing, somehow inspiring and uplifting, motion. Her own exuberance and love of dancing had been translated across into her movements, being communicated immediately to even the most casual observer in a manner that drew them, spellbound, into watching the entire performance. If the directors had been impressed, it hadn't shown in their faces; they'd politely thanked her, and called in the next applicant. Linna had looked a little downcast, expecting at least some flicker of feeling from the directors, but that hadn't happened.


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Advanced knowledge or not, he'd evidently made a mistake in suggesting she take up dancing again. He hadn't realized that her former dreams of performing in a musical, or some other stage-type production, would still be such a sore point. Of anyone, Linna had been the last person he'd have expected to have a confidence problem; she was always so energetic and self-assured, or at least that had been his perception. He knew part of what she was feeling, having had a good share of his own confidence problems at times.

Even though their strange 'employer' had not stated why it had not wanted the new AI to be reprogrammed, he'd had a suspicion that the boomer meant to personally reprogram it by directly linking with it. Evidently, it had proved to be too much of a strain on the boomer's older systems, and it had died. A moment later, he realized he'd been wrong, very wrong indeed.


Mullins, who underwent a double amputation as an infant, found fame as a successful para-athlete, model and actress. For her role in Bad Land: Road to Fury, Mullins wore specially-designed prosthetic legs, while the Rube Goldberg contraption that both keeps her alive and stimulates her spinal cord was added digitally by Windmill.

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In this same era, all three films in the original Star Wars trilogy were proving that spectacular shots of distant planets can be created very effectively just by using flat artwork. Orbital visions of Tatooine, Hoth, Dagobah and the other exotic worlds in that galaxy far, far away came courtesy of matte artists Mike Pangrazio and Ralph McQuarrie.


He turned to leave, then turned back to the still-stunned Quincy, who was staring at the burned husk on the floor, an unreadable expression on his face. Madigan was watching SkyKnight nervously now, wondering what he would do next. Soot and grime covered both of the unscrupulous executives, but they didn't appear to care at the moment.

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One of the major challenges facing the production was the re-creation of the 18th century Cornish tin mining insdustry. While some mining architecture still survives in the region, much of it is in ruins. The task of restoring it to full working order therefore fell to the Lexhag team.

Ultimately, being able to control the stereo in post is the best way to go. The quality of the stereo result is no longer in question. In fact, it is arguably superior to native, unless native has been through its own post process treatment. Perhaps most importantly, it gives studios and directors the flexibility to make changes to the depth as they see the film come together. With native shooting, you are locked in to the decisions you made on set, so you’d better hope that they were right!


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It was obviously pissing him off completely that he was unable to do a lot of what he wanted to do because of his tentative condition. Priss had already completely recovered from her injuries except for some fading bruises.

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In the middle of the carnage, a Herculean green boomer stood, facing down a K-17 armour suit. The K-17 was barely functioning. It was missing an arm and the hydraulics on its legs were sliced open, which had spilled gallons of hydraulic fluids to the pavement and caused the suit to seize completely. The suit pilot was now sweating profusely as he stared at the biomechanoid killer in front of him; he was helpless, a sitting duck. The fact that the boomer was obviously toying with him had made things worse.

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As the boomer staggered around, SkyKnight carefully raised his arms, pointing them at the boomer. Flickering readouts sped past his sight on his helmet viewscreen as his battlecomputer quickly and quietly calculated a target lock on the boomer. A green crosshair sight appeared, centered on the boomer.

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We generated smoke and fire from the tracked geometry, and rendered countless simulations in order to get what David was looking for. To make adjustments and revisions less time-consuming, we broke down the simulations and renders into smoke and fire passes for individual body parts – arms, legs, torso, etc. This also allowed for more time-friendly simulations at a smaller voxel spacing, creating extra detail in the fire tendrils and smoke. Animated texture maps were created in Nuke, and piped into Fume’s emitter channels. This permitted the fire to start at her legs and spread upwards, completely engulfing her.


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Nene's eyes suddenly turned bright with tears in overjoyed relief at his return. She started to run towards the front door, but Priss beat her to it.


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Dropping his hat and jacket on the hollow, armoured sentinel standing inside the door, he peeled off his sneakers and chucked them into the hall closet. Casting a quick glance around the house foyer, he strode into the living room. After rummaging around in the cabinet underneath his stereo, he found the CD he was looking for, and loaded it into the CD player disc slot, pressing the 'Play' button. The soothing strains of classical music began to waft through the room as he walked over to the couch, flopping lengthwise on it to stare at the ceiling, brooding.

He stood up, walking over to the counter and mixing up a mugful of tea. Sighing, running a hand through his hair, he took a slurp from his mug as he carried it back to his chair. Damn it, he had to do something; he couldn't just leave her to mope around. His greenish-brown eyes flicked an irritated gaze around the room as he tried to think of something he could do to help.


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Both men lapsed into gloomy, contemplative silence as they watched the burning detention facility. The flames were finally beginning to die out.

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There still is a big demand, although the market has now consolidated, with four main service providers in the conversion industry. Marvel is a great example of a studio committed to 3D: all of their films are planned to release in 3D, and they have recently added more films to their slate.

Bert sat back in his chair, steepling his fingers in front of his face as he stared at the computer screen in front of him. An uneasy feeling of imminent Armageddon gnawed at him as he stared at the summary he'd finally managed to piece together out of the police files.


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As with VFX, the best stereo supervisors and artists understand and embrace both the creative and the technical aspects of what they are doing. Conversion is very much a VFX process, and we have a range of levels of compositing artists in our stereo teams – seniors, mids and juniors. Being able to really see the subtleties in a stereo shot takes months of training, of looking at stereo, and developing an eye for what works and what doesn’t.

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When booking your tickets for the latest summer blockbuster, you’ll probably be faced with a choice: 2D or 3D? With Avengers: Age of Ultron, the question is boiled down to its most visceral form. Is it enough just to see Hulk smash? Or do I want to see Hulk smash in stereo!


Nene stared at the small flashing flag in the corner of her computer screen, casting a quick, furtive glance around the office. It was coffee break time, so there weren't many people in the office. She quickly called up the file attached to the flag, and read through the small attached report.

His suit wasn't even straining yet. Sylia didn't bother to reply as she watched the readout creep past the ten-ton mark, which had been the theoretical strength limit of his old suit. With the new, lighter armour plating and the new myomer actuators, the predicted strength maximum for his suit was now around fifteen tons. The rest of the suits had moved up to his old limit. The reason for the large disparity in physical hardsuit power was the fact that SkyKnight's suit and systems were a lot heavier and bulkier than the rest of the Sabers; with all the things he'd put into his suit, there was just no physical way to make it any more streamlined than it already was.


Top: A matte painting of Pankot Palace by Mike Pangrazio and Christopher Evans for a scene in “Indiana Jones and the Temple of Doom”. The painting was ultimately rejected by the artists. Bottom: The final shot was created using photography of a cut-out silhouette positioned on a hilltop, enhanced by matte painted highlights and additional architectural details.

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The production shot live-action of the historic plane on the ground using a mock-up provided by Gateguards UK. An authentic Spitfire was also made available for one day of the shoot by The Aircraft Restoration Company, Duxford. In addition, Nvizible built a CG Spitfire which they used for additional aerial shots.

During the sequence, Dr. Stafford Weiss discovers that his wife, Christina, has set herself on fire. He proceeds to push her into their swimming pool with a deck-chair to try and save her. Beau Parsons, one of our on-set supervisors, attended the shoot along with Brandon Rogers, a member of our CG team and lead for the department that would be using Fume FX.


Sylia jerked upright in her chair where she'd dozed off as what sounded like her front door slamming echoed through the apartment. Across the room from her, Priss and Linna groggily sat up from where they'd been dozing on the couch. Nene came out of the kitchen; she'd arrived about an hour ago after her night shift had ended. She looked tired, but she'd refused to go home and get some sleep. Sylia couldn't really blame her.

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The filmmakers based the design of this lumbering automaton – known as the “Sim” – on Big Dog, an experimental rough-terrain robot developed by Google subsidiary, Boston Dynamics. The Sim was created using a cunning blend of physical and digital techniques, combining the practical skills of Cape Town-based Cosmesis with visual effects by Windmill Lane VFX in Dublin, Ireland.


She seemed flustered by his comment for some reason. Bert grinned, and got ready to run.

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Commenting on the demands of television production timescales, Haggar concluded, “Speed is the key for us. Keeping your creativity alive while compositing has always been a challenge. Waiting for elements to render or playback is always frustrating.


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The AN/ALR-66C(V)3 Electronic Support Measures Set provides all the same features as an AN/ALR-66B(V)3 ESM Set. However, the ALR-66C(V)3 Set incorporates the AS-105 spinning DF antenna and the Operational Flight Program is modified to accommodate this configuration difference. Also included is the EP-2060 Pulse Analyzer, an upgrade to the ULQ-16.

Special thanks to Signature Entertainment and Witchfinder. Photographs copyright © 2021 by Signature Entertainment and courtesy of Windmill Lane VFX and Cosmesis.


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A silver streak flashed through the air, gilded slightly by the early morning sunlight. Its jets rumbled quietly as it swept along the rows of headstones, until it came to one that was a little apart from the others. SkyKnight landed gently next to it, his flight system falling silent as his wings snapped shut. Kneeling, he unwrapped the bouquet of colourful flowers he'd been carrying, and placed them gently in front of the marker. Standing up again, he stood for a moment with his head bowed in silence.


After cautiously making his way back to the garage level, SkyKnight carefully eased his way out the side door to the scrapyard beyond; it would be easier to take off without being seen from there. As he stepped out into the darkness, lightning flashed in the distance and thunder rumbled sullenly. Considering what was going to happen to him shortly, he figured the weather was oddly appropriate. In the back of his mind, he could suddenly hear Priss singing "Konya wa Hurricane", and he began to laugh despite the seriousness of the situation, losing some of the fear that had been gnawing at him in the process.

By setting keyframes on specific parameters within Fume, we were able to tame the behaviour of the simulation so that it would behave exactly as we needed. Using parameters like Wavelet Turbulence in Fume, we also achieved more time-friendly simulations, adding extra detail to low-resolution simulation caches, while preserving the overall motion. We added reflections and interactive light in compositing. So, lots of work was needed for this sequence!


What’s more, it’s now not unusual for a visual effects shot to be tweaked ten, twenty, even hundreds of times, with notes and comments flying endlessly back and forth between artist, supervisor and director. Faced with the need to generate multiple iterations of a shot, what artist would be crazy enough to use a paintbrush?

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Mike Pangrazio of ILM works on a matte painting for “Return of the Jedi”. Live-action stage photography was rear-projected into the area of glass left blank.


Priss found what she'd been looking for; the pistol-grip and barrel sections of her compact anti-boomer gun snapped together with a loud clack. She quickly slapped a magazine into it, and jacked one of the armour-piercing cartridges into the chamber. It was probably foolhardy, but she had to try and distract the HeadHunter; she couldn't just let it grind Bert into a paste on the sidewalk. She raised the gun, sighting on the green boomer. It apparently didn't consider her a threat; it wasn't even watching her.

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On the tail end of her comment, a massive blast blew in the far wall of the office, filling the air with flying debris, smoke, and dust. A very mangled, green, armour-plated body loomed in the hole, and flickering yellow eyes pierced the haze hanging in the room.


White light washed through the room in a fluorescent spray, illuminating the wild tangle of parts and machines that was the basement tech shop. Dropping his hat and jacket on a peg sticking out from the wall, Bert walked over to the worktable sitting at the far end of the room. A restless, irritated expression flashed across his face as he walked over, as if he was debating something internally and was unable to answer whatever the question was.

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It was one of the last to deliver. ILM had split it into three parts, and we had to split it into eight parts to make it more manageable in the time-frame. It was challenging from an editorial point of view, from a production point of view and artistically too. But we’re used to working with long shots after our work on Gravity!

The Mediator robot was played by Craig Garner, whose appearance was enhanced in post-production to give the actor’s skin an unsettling plastic sheen. For some scenes, frames were removed to create staccato movements.


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Across the street from her, Priss watched as the HeadHunter mercilessly kicked SkyKnight in the ribs, twice, sending him skidding along the pavement in a shower of sparks. The boomer stalked after the still weakly moving Knight Saber. She started fishing in the concealed inner pockets of her jacket.

It was expressed to us by David during the prep stages that the performance comes before anything else. Despite our suggestions that shooting fire elements or using a stunt double would provide more realistic fire, David wanted to go the CG route in order to preserve Olivia’s performance. I am not a great lover of CG fire, but it was the only way to proceed in order to get what David wanted. It was important to him that the audience knew it was really her and not a stunt double using fire retarder – which has a very reflective quality to it.


We shot the scene twice, once with Olivia in her gown and once wearing a burn suit. The burn suit was actually very problematic. It took much of the night to prepare, and the tracking markers didn’t want to stay on. By the time it was ready, the sun was starting to come up and we only had time for one run-through. In any case, as soon as she fell in the pool the suit became unusable, so it was very important to get it right on the first try.

There was a metallic tearing sound, as the Headhunter's left hand, which had been stuck to its face, was torn loose from the adhesive coating on its armour plating. Some of the coating tore loose also, and balefully glowing yellow eyes glared through the holes created.


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Oh God, almost a hundred people callously killed since then, all because he hadn't made sure that the goddamn thing was truly dead. He began to shake as he tried to hang onto his self-control. The rising hum of power systems being over-amped began to fill the air. The air around the silver-garbed Knight Saber seemed to seethe with crackling energy; the red glow from his helmet eyeslot began to turn incandescent. Energy began to glow brightly in the muzzles of his particle laser cannons. Jet turbines began to drone, and dust began to swirl uneasily in the air as the exhaust from his turbines swept it off the roof surface.


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A resigned expression was on her face, but a faint smirk was twitching at her lips nonetheless. The suit sighed again, and reached up for its helmet. The helmet came off with a metallic clacking noise, revealing sweaty red hair and greenish-brown eyes.


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She cast a quick glance at the other officers nearby, but none of them appeared to be watching. She glared at him, green eyes boring holes into him, then held out a hand.


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It was a silvery ovoid shape, with a small parabolic saucer-shaped disc on the front end. It had a squarish mounting base for where it would presumably attach to his hardsuit. She didn't have the faintest idea what it could be for, which wasn't unusual where he was concerned.


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It spun around, looking wildly around the office, as Quincy began to think that maybe the HeadHunter had gone nuts, after all. The boomer stepped out towards the center of the office.


Matte painting has been around since the dawn of cinema. To understand its origins, we first have to understand the use of the word “matte”, which in visual effects terminology is really just another word for “mask”.

Okay, before we get too deep into Avengers: Age of Ultron, let’s fill in the background. First, is the demand for stereo as big now as it was shortly after Avatar brought it back to the mainstream?


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The HeadHunter was tardy in trying to block him, and SkyKnight's gauntlet smashed into the middle of the white patch. There was a sharp sound, like glass breaking, and SkyKnight's armour-clad arm was driven through the hole created, right up to the elbow.

Yet, in this same decade, digital techniques were also on the rise. In this brave new world of photorealistic visual effects, would there still be a place for the traditional matte painting?


Since, as currently envisioned, squadrons will initially operate both the P-3C Update III and P-3C Update III AIP Aircraft, aircrew and maintenance personnel will require training for both aircraft configurations. Training track lengths will increase with the inclusion of the P-3C Update III AIP Aircraft information into existing training tracks.

Directed by Jon Wright, Robot Overlords features some 265 visual effects shots delivered by Soho-based Nvizible, supervised by the company’s founder and co-owner, Paddy Eason. The film’s complex tracking requirements were fulfilled by Peanut FX, with additional compositing support being provided by Boundary VFX, under the supervision of Nick Lambert.


To extend reality beyond its natural borders. To create the solid gold setting in which the jewel of performance can shine. To enhance what exists with what we can only imagine, and in doing so makes the mundane beautiful.

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As he sat there, trying to force himself to try getting up and out of his suit, the door to the shop opened, and Sylia stalked in, closely followed by Nene. Both women were obviously angry with him; the glares they directed in his direction could have burned holes in battleship armour.


First up is the feature Far from the Madding Crowd, adapted from the Thomas Hardy novel and directed by Thomas Vinterberg for DNA Films. Distributed by Fox Searchlight Pictures, the film tells the tempestuous story of Bathsheba Everdene (Carey Mulligan), and her attempts to juggle three different suitors, in rural 19th century England.

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As he did so, he noted that Nene looked none too happy with Priss, who was standing red-faced next to the cruiser. As he approached, Nene looked over at him, then took a second look as she recognized him. Her face became a study in consternation, turning pale.


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Sylia shrugged, sitting up and trying to straighten out her clothes, then gave it up as hopeless; sleeping in them hadn't done her any good. She started to get up to see what had happened, when a familiar voice called out.

A probing green-white particle beam seared the air, missing the hurtling silver suit by a very safe margin. A crackling red-white laser blast again scored the boomer, gouging chunks from its torso. The HeadHunter was realizing now that it had been royally suckered in allowing itself to get dragged into an aerial battle; it was exhausting its copious energy reserves keeping its massive weight airborne, and it couldn't use its main assets of strength and speed up in the air. A lot of its weapons were also designed around ground combat, and were useless in flying firefights. The high skies were very definitely SkyKnight's domain. The boomer's head suddenly swiveled around, searching frantically.


To shoot Avengers: Age of Ultron native would have been nigh-on impossible. There was so much greenscreen content that making depth choices for the live-action characters would have been tantamount to setting the stereo blind, because the backgrounds hadn’t even been created yet. Also, for the VFX houses to work in and render stereo is a big overhead. Adding this to a tight production schedule and hugely complicated creative work would have been an extra hit they didn’t need.

But funding for the project is cancelled, and Nasim ends up devoting her career to Zendegi, a computerised virtual world used by millions of people. Improve your tracks with expression-driven tracking data. Nov 12, 2020; What Options Tell Us About Stock Splits. Jan 16, 2020 - Explore Avraham Piltzer's board "Data science 2" on Pinterest.


You don't, never have, and unless your personality undergoes a completely radical swing, you never will. You're a kind, caring individual, as I think everyone on the team will attest to. You may have a lousy temper at times, but most of us do, and there's not a thing we can do about it. It's just part of what we are. Please stop tormenting yourself over this. Your own willingness to say that the HeadHunter is partly right is probably contributing to your nightmares.

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He glanced furtively around the dark, gloomy laboratory. A few feet away from him, a tall, gaunt man with red hair in a white lab coat was gleefully putting the finishing touches on the weapons systems encased in a massive boomer body that was lying on the concrete slab serving as an operating table. The massive body was a collection of synthetic muscle fibers, wires, cables and circuitry at the moment; they weren't quite ready to add the armour plating.

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Trumbull’s airbrushed starfields were photographed on an animation stand, using polarised light to eliminate any glare coming from the black paper. This technique – and variations upon it – became the industry standard for many years to come.


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Light glinted off of a standing body twelve feet tall, sheathed in metallic green plating and draped with canvas shreds from the ruined covering. Twin, saw-toothed claws were extended from the backs of the hands of two muscular-looking arms, arms that were raised over the boomer's thrown-back head in an apparent victory gesture. As the two men watched, more blades sprang out of the boomer's body; one wickedly curved blade sprang out from each of the boomer's elbows, projecting backwards, as two more smaller ones emerged from the forearms, perpendicular to its arms.