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Please do not adjust your television set: ILM TV is here!

PostPosted:Wed Nov 07, 2018 2:47 pm
by ShaneP
ILM is making it official. DNEG TV alum Hayden Jones and Jonathan Privett, along with their production team, are launching ILM TV.

https://variety.com/2018/artisans/news/ ... 203022007/

First projects are The Mandlorian and the second season of SyFy's Krypton.

Re: Please do not adjust your television set: ILM TV is here!

PostPosted:Wed Nov 07, 2018 7:02 pm
by Kmart
I've got an unsold KRPYTON VFX article for s1, maybe I can built it into something bigger now ...

Re: Please do not adjust your television set: ILM TV is here!

PostPosted:Thu Nov 08, 2018 5:43 pm
by ShaneP
I've got an unsold KRPYTON VFX article for s1, maybe I can built it into something bigger now ...
Perfect timing. :)

Re: Please do not adjust your television set: ILM TV is here!

PostPosted:Thu Nov 08, 2018 7:19 pm
by Kmart
I made a correction to their story, where they claim YOUNG INDY was the first use of feature-level VFX on episodic TV. Pointed out ILM's TNG pilot work and original BSG preceded that.

Re: Please do not adjust your television set: ILM TV is here!

PostPosted:Fri Nov 09, 2018 11:41 am
by Bigjonr
They obviously also did Agent Carter recently but BSG?? I know everyone on the show was ILM but that was surely after they closed their doors having finished A New Hope and Apogee strung up out of their ashes! 😁

Re: Please do not adjust your television set: ILM TV is here!

PostPosted:Fri Nov 09, 2018 3:20 pm
by ShaneP
They obviously also did Agent Carter recently but BSG?? I know everyone on the show was ILM but that was surely after they closed their doors having finished A New Hope and Apogee strung up out of their ashes! 😁
Yeah BSG was Apogee and post-Van Nuys ILM so it was this weird in-between era when the crew was virtually the same as the ILM Star Wars one but George didn't fund it as an ILM show. You could call it an unofficial-ILM show or a proto-Apogee one. :lol:

After that, Muren, Edlund, etc moved up to Marin.

Re: Please do not adjust your television set: ILM TV is here!

PostPosted:Fri Nov 09, 2018 7:41 pm
by Kmart
I thought the Apogee name didn't come up till ALTERED STATES, but yeah, it was the Apogee group plus the keys from ILM who then went north. T

hat's a particular story point in my script on the formation of ILM that focuses on this, since Edlund telling Dykstra he isn't staying down there is kind of a cleaving moment. I'm thinking it could play like the end of a western where the compatriots head their separate ways, but then again, I think of almost everything in terms of westerns ...

Muren felt his BSG work was some of the best stuff yet, better than a lot of SW in terms of moves (he shot that thing where the three cylon raiders do a little flip as they go away descending toward the planet.)

Re: Please do not adjust your television set: ILM TV is here!

PostPosted:Mon Dec 24, 2018 11:54 am
by Kmart
Studio Daily wants a piece on ILM TV, so keeping fingers crossed that can happen.

Re: Please do not adjust your television set: ILM TV is here!

PostPosted:Mon Dec 24, 2018 12:02 pm
by ShaneP
I believe their hub is in England but that shouldn't stop you from talking to them through the interwebz or a phone.

I've often wondered what it was like before email and mobiles and video conferencing to write about shows.

Was it mostly by phone?

Re: Please do not adjust your television set: ILM TV is here!

PostPosted:Mon Dec 24, 2018 12:34 pm
by Kmart
For me it is still mostly by phone (like John McClane, still trying to modernize by waking up to smell the 90s), though I did skype and facetime a few times in the last couple of years. Plus when folks don't have time for an interview, I still occasionally just send a batch of questions and talkpoints and get responses via email. That speeds things up (no transcription time), but you lose all the great little digressions and inspirations that come out of a real conversation. Except for a story about Laika, which is within driving distance of where I am, I don't think I've done anything in-person since moving up here in 2001.

I've probably mentioned it before, but the interview I had to do the most work to get (outside of Christopher Nolan) was the late Richard Doc Baily, about FIGHT CLUB. He cancelled several interviews, and wound up agreeing to an early Friday evening interview, which pushed to an 11pm start. After a long stretch where he didn't seem comfortable, we wound up with a 3hr + interview that went all over the place, but was really the basis for the whole Cinefex piece, which, like THE MATRIX, pretty much tripled in size while being written.

Oh, and I just had the horrorshow of all horrorshows happen: interview with Cap Marvel directors that disappeared off my digital voice recorder prior to transcribing. Of course, my digital recorder is NOT one that lets you link to computer, so when the recording is gone, it is GONE.

I don't think I've lost a whole interview and story since the early 90s, when I got a terrible recording of a Ken Ralston interview about the Bogart Tales from the Crypt episode, and no amount of equalizing ever brought it back to any audio recognition. I lost a big hunk of Richard Edlund about first STAR WARS but still had some good stuff amid all the bad sound, because that was three hours over two sessions, but still wonder if some SW secrets are lost forever owing to that bad tape.

Re: Please do not adjust your television set: ILM TV is here!

PostPosted:Mon Dec 24, 2018 1:17 pm
by ShaneP
For me it is still mostly by phone (like John McClane, still trying to modernize by waking up to smell the 90s), though I did skype and facetime a few times in the last couple of years. Plus when folks don't have time for an interview, I still occasionally just send a batch of questions and talkpoints and get responses via email. That speeds things up (no transcription time), but you lose all the great little digressions and inspirations that come out of a real conversation. Except for a story about Laika, which is within driving distance of where I am, I don't think I've done anything in-person since moving up here in 2001.

I've probably mentioned it before, but the interview I had to do the most work to get (outside of Christopher Nolan) was the late Richard Doc Baily, about FIGHT CLUB. He cancelled several interviews, and wound up agreeing to an early Friday evening interview, which pushed to an 11pm start. After a long stretch where he didn't seem comfortable, we wound up with a 3hr + interview that went all over the place, but was really the basis for the whole Cinefex piece, which, like THE MATRIX, pretty much tripled in size while being written.

Oh, and I just had the horrorshow of all horrorshows happen: interview with Cap Marvel directors that disappeared off my digital voice recorder prior to transcribing. Of course, my digital recorder is NOT one that lets you link to computer, so when the recording is gone, it is GONE.



I don't think I've lost a whole interview and story since the early 90s, when I got a terrible recording of a Ken Ralston interview about the Bogart Tales from the Crypt episode, and no amount of equalizing ever brought it back to any audio recognition. I lost a big hunk of Richard Edlund about first STAR WARS but still had some good stuff amid all the bad sound, because that was three hours over two sessions, but still wonder if some SW secrets are lost forever owing to that bad tape.


Was that for the Star Wars Special Edition?

You did a story for the Tales from the Crypt ILM episode? Was that for that Ken Ralston/Zemeckis piece for....ahh what was that magazine? I bought a magazine in, perhaps 94 or 95 and it had an interview with Ralston about his Zemeckis collaborations. It was around the time they were talking about doing a Houdini movie next. That article had a little bit about the Tales from the Crypt ILM episode with Bogart. Ralston left ILM post Jumanji in late 95 so the magazine was before that and before pre-production on Contact.

PostPosted:Mon Dec 24, 2018 1:43 pm
by Kmart
It was for Cinefex (intended as one of those mini 1500-word single-interview pieces), and since the interview wasn't salvageable there was no article.

Perhaps you're thinking of SciFi Universe? I think that or one of those other mid-90s sf mags was big at that point, but when Altman and his cronies were there, that was a truly great and interesting magazine.

The Edlund was for Cinefex issue 65, part of the WAR STORIES article. Of the people I tried to get for that, I only missed out on Jim Nelson (recovering from surgery) and McQuarrie (didn't want to talk, I think), plus Grant McCune and one other, I think it was Jamie Shourt? Oh, and Rick Baker, but I think the Tippett stuff covered his end pretty well, considering the cantina redo had already gotten tons of covereage in CINEFANTASTIQUE nearly 20 years earlier.

Re:

PostPosted:Mon Dec 24, 2018 1:48 pm
by ShaneP
It was for Cinefex (intended as one of those mini 1500-word single-interview pieces), and since the interview wasn't salvageable there was no article.

Perhaps you're thinking of SciFi Universe? I think that or one of those other mid-90s sf mags was big at that point, but when Altman and his cronies were there, that was a truly great and interesting magazine.

The Edlund was for Cinefex issue 65, part of the WAR STORIES article. Of the people I tried to get for that, I only missed out on Jim Nelson (recovering from surgery) and McQuarrie (didn't want to talk, I think), plus Grant McCune and one other, I think it was Jamie Shourt? Oh, and Rick Baker, but I think the Tippett stuff covered his end pretty well, considering the cantina redo had already gotten tons of covereage in CINEFANTASTIQUE nearly 20 years earlier.
Probably was Sci-Fi Universe. That was one of those magazines I bought from first issue through Altman's reign. It really dropped off after he left(wasnt it to make a Trekkie film?)That and very early Cinescape were great compliments to Cinefex.

Okay so the Edlund interview was for the Star Wars 20 retrospective. That was a really good article and entire issue covering the original and SE. 95-97 was a really exciting time to be a SW fan. The lead up and excitement for what they might change or enhance was greater than the actual results. Empire's lack of consistency across what was digitally recomped and what wasnt kind of baffled me. They fixed the transparencies in the snow speeder cockpits but not the space shots? There were matte boxes all over the Ties in the theater.
Then the stuff they added to the Star Wars SE just didn't age well at all.The Mos Eisley stuff is really sharp and full of contrast so it looks different from the original footage. Those Yavin space shots Knoll did still hold up and work well....with the exception of the pan with the rebel ships approaching the DS. It doesn't fit the other camera moves.

The 2004 blu ray trilogy set attempted to fix things even further(the Jabba scene was redone and was better) but then they added goofy audio things like Vader's "No!" when he picks up Palpatine in Jedi. And the color grading was absolutely overdone on the blues and reds(which made red things pink).

So I usually just watch the originals sans any fixes, Luke's sand speeder vaseline blob and all.

Re: Please do not adjust your television set: ILM TV is here!

PostPosted:Mon Dec 24, 2018 2:58 pm
by Kmart
The only way to watch the original on dvd is to watch the old LD transfer that appears as an extra on d2 of ANH, right? Cuz that's all I've got, and it is pretty rough on a decent sized set.

It's funny you mention the rebel ships in that 180 shot that replaced 2 shots from the original -- I always thought of that as the BABYLON 5 shot, because the colors and contrast just looked like a lesser B5 ep. Except for the engine light wiggle in the original, I always thought that was fine without fixing (though the IDEA of adding lens flare on the cockpit in the new version was good and 'reflected' one of Muren's disappointments about that kind of thing not being in the original.)

Re: Please do not adjust your television set: ILM TV is here!

PostPosted:Mon Dec 24, 2018 3:12 pm
by ShaneP
The only way to watch the original on dvd is to watch the old LD transfer that appears as an extra on d2 of ANH, right? Cuz that's all I've got, and it is pretty rough on a decent sized set.

It's funny you mention the rebel ships in that 180 shot that replaced 2 shots from the original -- I always thought of that as the BABYLON 5 shot, because the colors and contrast just looked like a lesser B5 ep. Except for the engine light wiggle in the original, I always thought that was fine without fixing (though the IDEA of adding lens flare on the cockpit in the new version was good and 'reflected' one of Muren's disappointments about that kind of thing not being in the original.)
Yes, that's right. I still have the old Laserdisc Definitive Set but the dvds are just rips of them so I usually play those. Plus, I don't have to get up mid movie and change them. :P The Empire rip is grainy as heck though especially for the Hoth scenes.

I can understand why they added new shots for the Yavin battle and most seem to integrate very well but that first approach shot always bugged me. And their reasoning that now the new one is improved because it shows the correct number of rebel ships where the old one didn't....what? Is that a valid reason? How about viewers filling in the blanks and understanding that in space we wouldn't necessarily be able to pinpoint distant ships anyway. They would be like specks unless there was a star reflecting off of them. You are right the shot does have a bit of a graphic quality to it. The whole SE thing was an interesting and fascinating thing to get a behind the scenes look with ILM pushing new technology for a classic analog film. But the results are mixed. They were then and are even more now with some not having aged well.