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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...

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Joseph Mallozzi 🏴‍☠️

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32,964 görüntüleme • 6 ay önce •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.
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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.

Joseph Mallozzi 🏴‍☠️

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#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.
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#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.

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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.
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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.

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The great Douglas Trumbull, one of the main pioneers of visual effects, was born on this day in 1942. From his mastery, vision, and creativity as a visual effects supervisor emerged the science-fiction landscapes of films like ‘2001: A Space Odyssey’, ‘Blade Runner’ or ‘Close Encounters of the Third Kind’.
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The great Douglas Trumbull, one of the main pioneers of visual effects, was born on this day in 1942. From his mastery, vision, and creativity as a visual effects supervisor emerged the science-fiction landscapes of films like ‘2001: A Space Odyssey’, ‘Blade Runner’ or ‘Close Encounters of the Third Kind’.

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Eric Saindon, the visual effects supervisor on 'Avatar: Fire and Ash', won the Oscar in the Visual Effects category at the 2026 Oscars. He spoke to Sky's arts and entertainment correspondent Katie Spencer ⬇️ Read more 🔗
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Go behind-the-scenes and experience the Emmy®-nominated visual effects of THE MANDALORIAN, now nominated for nine Emmy® Awards, including Outstanding Special Visual Effects. Industrial Light & Magic #FYC
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The podrace sequence in The Phantom Menace (1999) is a masterclass in visual effects, sound editing, and sound design. It turns pure speed into spectacle and remains one of the most immersive action set pieces in the saga.
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Here's a special look inside the Emmy®-nominated visual effects of THE MANDALORIAN, now nominated for nine Emmy® Awards, including Outstanding Special Visual Effects. Industrial Light & Magic #FYC
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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

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