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One more BTS VFX sequence compliments of former Stargate Visual Effects Supervisor Mark Savela, again from Stargate: Atlantis's "Adrift". The actual physical set for the Midway Station would not be built until later in the season but, through the magic of visual effects, we establish it here. The Zero-G... show more

Joseph Mallozzi 🏴‍☠️

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32,964 Aufrufe • vor 8 Monaten •via X (Twitter)

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Back in the day, Stargate accomplished a lot on what, at the time, was a pretty modest budget. A big part of our success was thanks to our in-house visual effects team led by VFX Supervisor Mark Savela. Check out this EVA chasm jump sequence from Stargate: Atlantis's "Adrift" featuring Sheppard and Zelenka. It was shot in what we coined, appropriately enough, the VFX stage - home to the village set, some Atlantis interiors, and the hive ship.

Back in the day, Stargate accomplished a lot on what, at the time, was a pretty modest budget. A big part of our success was thanks to our in-house visual effects team led by VFX Supervisor Mark Savela. Check out this EVA chasm jump sequence from Stargate: Atlantis's "Adrift" featuring Sheppard and Zelenka. It was shot in what we coined, appropriately enough, the VFX stage - home to the village set, some Atlantis interiors, and the hive ship.

Joseph Mallozzi 🏴‍☠️

92,275 Aufrufe • vor 8 Monaten

#OnThisDay, 1968: #2001ASpaceOdyssey was released. The 'Stargate' sequence was achieved through the 'slit-scan' technique, pioneered by Visual Effects Supervisor Douglas Trumbull: exposing a frame of film while the camera tracks in towards an aperture shaped like a narrow slit.

#OnThisDay, 1968: #2001ASpaceOdyssey was released. The 'Stargate' sequence was achieved through the 'slit-scan' technique, pioneered by Visual Effects Supervisor Douglas Trumbull: exposing a frame of film while the camera tracks in towards an aperture shaped like a narrow slit.

Stanley Kubrick

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A notable scene that shot for Stargate: Atlantis but never found its way to screen was this exchange between Carter and Sheppard at the conclusion of "Reunion", the third episode of the show's fourth season. The scene was intended to develop the friendship/working relationship between these two characters and close out the episode, but we were running long and I thought it would be better to end with the Ronon-Teyla scene since it was Ronon’s episode. Blue screen here as our heroes would have looked out on the waters surrounding the city through the magic of visual effects. The scene would have concluded with a PULL BACK ON the city, the ocean and then FADE OUT.

A notable scene that shot for Stargate: Atlantis but never found its way to screen was this exchange between Carter and Sheppard at the conclusion of "Reunion", the third episode of the show's fourth season. The scene was intended to develop the friendship/working relationship between these two characters and close out the episode, but we were running long and I thought it would be better to end with the Ronon-Teyla scene since it was Ronon’s episode. Blue screen here as our heroes would have looked out on the waters surrounding the city through the magic of visual effects. The scene would have concluded with a PULL BACK ON the city, the ocean and then FADE OUT.

Joseph Mallozzi 🏴‍☠️

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A long time ago (1992), Robert Zemeckis directed a movie called "Death becomes her" in which Meryl Streep had to completely twist her neck. This is the reason why Industrial Light & Magic created the first skin shader and pushed the boundaries of 90s Visual Effects (which would leave the top of greatness one year later in a movie starring big Dinos). Here is how it's been achieved, 34 years ago... #vfx #vfxhistory

A long time ago (1992), Robert Zemeckis directed a movie called "Death becomes her" in which Meryl Streep had to completely twist her neck. This is the reason why Industrial Light & Magic created the first skin shader and pushed the boundaries of 90s Visual Effects (which would leave the top of greatness one year later in a movie starring big Dinos). Here is how it's been achieved, 34 years ago... #vfx #vfxhistory

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Generative AI is cool and all, but I continue to be blown away by the strides in real-time visual effects. Case in point — ripping through immaculate fluid simulations on an RTX 4090 using EmberGen:

Generative AI is cool and all, but I continue to be blown away by the strides in real-time visual effects. Case in point — ripping through immaculate fluid simulations on an RTX 4090 using EmberGen:

Bilawal Sidhu

552,683 Aufrufe • vor 3 Jahren

Exactly what I said the day trailer of #Ramayana got released. What is the need to generate basic altar fire shot with vfx, why not use FIRE FIRE and then maybe elevate it with effects. He talks about Krrish scene where they actually used real fire and then enhanced it with visual effects hence it looked so good. Also he’s going on a podcast where big names from yt will discuss Ramayana and also one member from vfx team of Ramayana will also be present, so he will ask him about this particular shot.

Exactly what I said the day trailer of #Ramayana got released. What is the need to generate basic altar fire shot with vfx, why not use FIRE FIRE and then maybe elevate it with effects. He talks about Krrish scene where they actually used real fire and then enhanced it with visual effects hence it looked so good. Also he’s going on a podcast where big names from yt will discuss Ramayana and also one member from vfx team of Ramayana will also be present, so he will ask him about this particular shot.

cinegeek

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We are more than meets the eye. Go Behind the Magic with ILM and explore the visual effects of #TransformersOne in this exclusive breakdown. From robot showdowns to intricate landscapes, immerse yourself in the groundbreaking work that helped shape this new chapter. Nominated for two #VESAwards and an #AnnieAward. Buy or rent now, and streaming on Paramount+. #FYC

We are more than meets the eye. Go Behind the Magic with ILM and explore the visual effects of #TransformersOne in this exclusive breakdown. From robot showdowns to intricate landscapes, immerse yourself in the groundbreaking work that helped shape this new chapter. Nominated for two #VESAwards and an #AnnieAward. Buy or rent now, and streaming on Paramount+. #FYC

Industrial Light & Magic

10,684 Aufrufe • vor 1 Jahr

Hi Amazon MGM Studios, Many of us now work in filmmaking because of shows like Stargate SG-1. It inspired us with its rich lore, believable character interactions, human drama, and its grounded military science fiction setting. It showed the progress of humanity from its first baby steps through an unknown portal into a space-faring species. The show was hopeful, human, and naturally diverse. It showed the world and mankind coming together despite our differences to create something better. Indeed, that is what the core of Stargate is and always has been. We are from around the world. We are men, women, fathers, mothers, grandparents, grandchilren, and proud of the values Stargate has always stood for. It's rare for a franchise that appeals to people across a political divide, but Stargate always has. It has always stood for the message that we are stronger together. These are the fans. Martin Gero, Joe Mallozzi, Brad Wright, and everyone else involved have had decades to understand this. There is no better team to trust than the ones who've been there with us the longest. It's a symbiotic relationship. I, and every Stargate fan, urge you to reconsider during this Window of Opportunity. The writing team was in the middle of their backswing during the cancellation announcement. At least let them finish a season. We are worth taking a chance on! I'm Emerald May, and I work in visual effects in Atlanta and I'm proud of shows like Stargate SG-1, Atlantis, and Universe that helped steer my career into a place where we make worlds come true. Thank you.

Hi Amazon MGM Studios, Many of us now work in filmmaking because of shows like Stargate SG-1. It inspired us with its rich lore, believable character interactions, human drama, and its grounded military science fiction setting. It showed the progress of humanity from its first baby steps through an unknown portal into a space-faring species. The show was hopeful, human, and naturally diverse. It showed the world and mankind coming together despite our differences to create something better. Indeed, that is what the core of Stargate is and always has been. We are from around the world. We are men, women, fathers, mothers, grandparents, grandchilren, and proud of the values Stargate has always stood for. It's rare for a franchise that appeals to people across a political divide, but Stargate always has. It has always stood for the message that we are stronger together. These are the fans. Martin Gero, Joe Mallozzi, Brad Wright, and everyone else involved have had decades to understand this. There is no better team to trust than the ones who've been there with us the longest. It's a symbiotic relationship. I, and every Stargate fan, urge you to reconsider during this Window of Opportunity. The writing team was in the middle of their backswing during the cancellation announcement. At least let them finish a season. We are worth taking a chance on! I'm Emerald May, and I work in visual effects in Atlanta and I'm proud of shows like Stargate SG-1, Atlantis, and Universe that helped steer my career into a place where we make worlds come true. Thank you.

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From BTS to screen: Daniel Craig and Naomie Harris discuss the chase sequence in SKYFALL where Bond and Eve pursue Patrice (Ola Rapace) through Istanbul’s Grand Bazaar. “Having a car chase in a street with nothing in it is boring”, said special effects supervisor Chris Corbould. “But as soon as you have a background for the chase it comes to life. Istanbul has a real character to it.”

From BTS to screen: Daniel Craig and Naomie Harris discuss the chase sequence in SKYFALL where Bond and Eve pursue Patrice (Ola Rapace) through Istanbul’s Grand Bazaar. “Having a car chase in a street with nothing in it is boring”, said special effects supervisor Chris Corbould. “But as soon as you have a background for the chase it comes to life. Istanbul has a real character to it.”

James Bond

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It's no secret that Michael Bay likes to shoot his films with as much practical effects as possible. In #Transformers (2007) there is a shot where Optimus Prime and Megatron crash through a building, this shot was done practically using a miniature at 1/4 scale by ILM. Doing this shot practically allowed them to get the randomness of the destruction without having to do expensive simulations. The CG robots were then added into the shot to merge the photographic plate with the CG elements. When doing live-action films, it is always a good idea to shoot physically as much as possible. This provides the VFX artists with real world reference to ground their work in and allows them to compliment the shot with CG elements. One of the reasons the original Transformers trilogy looks so good is because of the incredible blend of practical and digital effects. It is difficult to watch the film and spot what is real and what is CG. ILM VFX Supervisor Scott Farrar talks through how this scene was pulled off:

It's no secret that Michael Bay likes to shoot his films with as much practical effects as possible. In #Transformers (2007) there is a shot where Optimus Prime and Megatron crash through a building, this shot was done practically using a miniature at 1/4 scale by ILM. Doing this shot practically allowed them to get the randomness of the destruction without having to do expensive simulations. The CG robots were then added into the shot to merge the photographic plate with the CG elements. When doing live-action films, it is always a good idea to shoot physically as much as possible. This provides the VFX artists with real world reference to ground their work in and allows them to compliment the shot with CG elements. One of the reasons the original Transformers trilogy looks so good is because of the incredible blend of practical and digital effects. It is difficult to watch the film and spot what is real and what is CG. ILM VFX Supervisor Scott Farrar talks through how this scene was pulled off:

Rassoul Edji

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The jaw-dropping plane crash scene in ‘Tenet’ was done using a real Boeing 747, not CGI. Director Christopher Nolan originally planned to use visual effects, but realized it would actually be cheaper and more realistic to crash a real plane into the building. The production bought a decommissioned aircraft and filmed the crash practically in a single massive stunt. The result became one of the most ambitious and visually stunning practical effects ever put on screen. ✈️💥🎬

The jaw-dropping plane crash scene in ‘Tenet’ was done using a real Boeing 747, not CGI. Director Christopher Nolan originally planned to use visual effects, but realized it would actually be cheaper and more realistic to crash a real plane into the building. The production bought a decommissioned aircraft and filmed the crash practically in a single massive stunt. The result became one of the most ambitious and visually stunning practical effects ever put on screen. ✈️💥🎬

Every Movie Plug

18,453 Aufrufe • vor 5 Monaten

#WATCH | On the encounter in Rajouri, National Conference (NC) president Farooq Abdullah says, "I don't see the end of this. Today we had an encounter in Rajouri, there are encounters daily. The government shouts daily that militancy is over. Now tell me, is militancy over? This will not be over until a path is not found through which peace can be achieved. Peace cannot be achieved through a fight, it can come through talks..."

#WATCH | On the encounter in Rajouri, National Conference (NC) president Farooq Abdullah says, "I don't see the end of this. Today we had an encounter in Rajouri, there are encounters daily. The government shouts daily that militancy is over. Now tell me, is militancy over? This will not be over until a path is not found through which peace can be achieved. Peace cannot be achieved through a fight, it can come through talks..."

ANI

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The cotton field sequences in SINNERS reflect a seamless collaboration between the Production Design and Visual Effects teams, uniting practical craftsmanship with large-scale digital innovation. Cotton plant lookalikes were used on set to ground Omar Benson Miller’s performance in tangible authenticity like his sharecropper grandfather experienced, while more than three million VFX plants were integrated to extend the landscape into a vast horizon. This carefully calibrated balance between physical and digital artistry not only achieved cinematic breadth, but also honors the lived experiences and personal histories that both Miller and Director/Writer/Producer Ryan Coogler brought to the narrative. Now nominated for a record-breaking 16 Academy Awards including Best Visual Effects.

The cotton field sequences in SINNERS reflect a seamless collaboration between the Production Design and Visual Effects teams, uniting practical craftsmanship with large-scale digital innovation. Cotton plant lookalikes were used on set to ground Omar Benson Miller’s performance in tangible authenticity like his sharecropper grandfather experienced, while more than three million VFX plants were integrated to extend the landscape into a vast horizon. This carefully calibrated balance between physical and digital artistry not only achieved cinematic breadth, but also honors the lived experiences and personal histories that both Miller and Director/Writer/Producer Ryan Coogler brought to the narrative. Now nominated for a record-breaking 16 Academy Awards including Best Visual Effects.

SinnersMovie

104,370 Aufrufe • vor 6 Monaten

DC Comics has released an animated version of the first issue of the DC x Sonic the Hedgehog - Chaos Crisis comic on its YouTube channel. Chaos Crisis was the first arc of the crossover, which was published in 2025. In this video, all the panels from the issue have been brought to life through visual effects, the breakdown of the artwork into layers, and the addition of character movements. However, there is no voice acting, only music and sound effects. You can watch the full version via the link in the thread. #SonicTheHedgehog #DCComics #SonicNews

DC Comics has released an animated version of the first issue of the DC x Sonic the Hedgehog - Chaos Crisis comic on its YouTube channel. Chaos Crisis was the first arc of the crossover, which was published in 2025. In this video, all the panels from the issue have been brought to life through visual effects, the breakdown of the artwork into layers, and the addition of character movements. However, there is no voice acting, only music and sound effects. You can watch the full version via the link in the thread. #SonicTheHedgehog #DCComics #SonicNews

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56,787 Aufrufe • vor 4 Monaten

The Jacksons created their short film for "Can You Feel It" in March 1980, coinciding with the recording of the song. The rarely seen film, titled "The Triumph," was noted for its advanced special effects and was released alongside the single on March 5, 1981. #MichaelJackson conceptualized the video, which features a blend of visual artistry and performance, and it later gained acclaim as one of the best music videos of its time. Here is the (nearly) 10m Short Film!!!

The Jacksons created their short film for "Can You Feel It" in March 1980, coinciding with the recording of the song. The rarely seen film, titled "The Triumph," was noted for its advanced special effects and was released alongside the single on March 5, 1981. #MichaelJackson conceptualized the video, which features a blend of visual artistry and performance, and it later gained acclaim as one of the best music videos of its time. Here is the (nearly) 10m Short Film!!!

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The day is upon us... Through the eras and the many champions, The Valley has roared like no other. As we look to the future, hearts will once again be lifted by the magic of The Valley, for one last legendary time as we know it. #LEGENDARY #CoxPlate

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Matt Damon reveals how he shot Scylla, the 6-headed snake monster scene on “The Odyssey” Tom Holland: “How did you shoot that again?… cause that to me is another part of the movie that i don’t understand how you did that” Matt Damon: “we took the boat through that passageway… and Chris had on one side jet skis doing doughnuts in the water” “This is true” “to really create a small whirlpool that the visual effects could use the actual movement as a guide” “George Cottle did six ratchets on that boat, on the actual boat, he rigged the ratchet system and pulled stunt guys up out of the deck of the boat” “It was the most incredible thing… he did six ratchets and he did it after lunch”

Matt Damon reveals how he shot Scylla, the 6-headed snake monster scene on “The Odyssey” Tom Holland: “How did you shoot that again?… cause that to me is another part of the movie that i don’t understand how you did that” Matt Damon: “we took the boat through that passageway… and Chris had on one side jet skis doing doughnuts in the water” “This is true” “to really create a small whirlpool that the visual effects could use the actual movement as a guide” “George Cottle did six ratchets on that boat, on the actual boat, he rigged the ratchet system and pulled stunt guys up out of the deck of the boat” “It was the most incredible thing… he did six ratchets and he did it after lunch”

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Lighting is key to creating believable VFX. Simulon generates accurate 360 hdr lighting in seconds. But there’s something much stranger going on in this video. The chrome ball is being moved through the world as if it is actually there. How do you think this is possible? 👀 We’ve built something that will completely change how 3D visual effects are made and it’s coming to Simulon next week.

Lighting is key to creating believable VFX. Simulon generates accurate 360 hdr lighting in seconds. But there’s something much stranger going on in this video. The chrome ball is being moved through the world as if it is actually there. How do you think this is possible? 👀 We’ve built something that will completely change how 3D visual effects are made and it’s coming to Simulon next week.

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