Open discussion about ILM and the magic they create. Also VFX and movies in general. Anyone can post topics here.

Moderator: malducin

Not sure what ILM did on this one, but they were listed first in the credits and seemed to have the largest crew. Maybe Framestore had an equal-sized crew. But one thing for certain, Marvel dropped the ball with this one...and DC is starting to pick up more points. I'm actually really looking forward to SHAZAM.
ILM did the space sequence at the end. How was Lola's work on Sam Jackson?
Well, US was really...weird. It reminded me of CABIN IN THE WOODS in a way, with its fairly standard horror movie tropes in the first and second acts, but then going completely batshit in the third. In US's case, I'm not sure if the third act is trying to be funny, scary, or thought-provoking...but it really wasn't any of them to me.

I think I liked GET OUT more. It had a climax that didn't seem nearly as contrived.

I'd like to see coverage of ILM's work on the film. Grady Cofer did have his name on the opening credits.
ILM is helping Universal Studios update their Jurassic Park ride to a Jurassic World centered experience: ... c64d0d1bc9

vfx fan, I read a article where they mentioned some CG rabbits:

"In scenes where Nyong’o was moving rapidly, the rabbits would be replaced with fake rabbits as stand-ins, replaced in post-production by Industrial Light and Magic." ... -interview
Yes. MPC and Mr. X are both Technicolor companies. I know this because they both worked on SHAZAM!, which was great by the way, and they both said "a Technicolor company" next to their credit. That must mean they ARE indeed both Technicolor companies.

Mr. X (a Technicolor Company) also did work on PET SEMATARY.

My question is...why havent MPC and Mr. X merged yet?
The Rise Of Skywalker trailer just revealed the Emperor (offscreen & the actor came onscreen for a moment as well at SW celebration) and the Death Star wreckage from ROTJ!

Lucas's original idea for the sequel trilogy was to have the endor death star ruins as a big part of the storyline so it looks like JJ finally listened to that!
To Jedi and Shane: occasionally i check the FB page of former ILM model supervisor Kris Costa, and he made quite a few posts in wich he complained about the very difficult situation of VFX Industry in California and in ILM SF . If i'm not wrong he dosen't work for ILM anymore. Many other top artists left the company : Chase Cooper, Russell Paul, if i'm not wrong also Brian Cantwell (the guy that won a technical oscar for the performance capture System) to name a few, and the list goes on.
Well if you go back far enough, 99.99% of all people to ever work at ILM have left. But what about people coming and going from ILM is recent? And even if that was demonstrated, what does subsidies have to do with it?

You would have to show that retention has gone down or turnover increased and that it is due to subsidies. Just saying that this person and that person left means there is something afoot is not enough. People have come and gone from ILM since 1977.
The other thing to remember is that sometimes people leave a place because they have a new opportunity presented to them - modern workers (in more than the VFX industry, mine too [IT]) don't stay at one company for more than a few years now-a-days. It just happens.

I've also read stuff from other VFX companies that talk about California increasing tax incentives, and that's drawing more VFX work back into the state (think that it was an interview with Pixomodo about their work on The Orville). This stuff is very complicated is all I'm getting at.

I think that a big deal leaving would be if someone like John Knoll or Hal Hickel were to leave. Those are higher-level people, and that would be a better sign of 'something going on'.
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