Industrial Light and Magic Visual Effects

The Morning Watch is a recurring feature that highlights a handful of noteworthy videos from around the web. They could be video essays, fanmade productions, featurettes, short films, hilarious sketches, or just anything that has to do with our favorite movies and TV shows.

In this edition, Industrial Light and Magic shows off the extensive work they put into some of the year’s biggest blockbuster. See what they created for movies like Marvel’s Avengers: Infinity War and Black Panther, Jurassic World: Fallen Kingdom and Solo: A Star Wars Story. Will any of these Industrial Light and Magic visual effects showcases win them an Academy Award for Best Visual Effects? Read More »

ILM TV

Award-winning visual effects company Industrial Light & Magic announced today that they’ve launched a brand new division. ILM TV will, as the name suggests, serve the “streaming and episodic television market” and expand the ILM brand beyond theaters and the VR projects of ILMxLab.

The first shows that ILM TV are slated to work on are SyFy’s Superman prequel series Krypton and Disney Play’s upcoming live-action Star Wars show The Mandalorian. Read More »

Star Wars The Last Jedi Visual Effects Featurettes

Most of the hype for the Oscars, as usual, surrounds the nominees for Best Picture, Best Director, Best Actor and Best Actress, but the technical awards deserve some attention too. Case in point: Industrial Light and Magic has been showing off all the hard work they put into Star Wars: The Last Jedi with its impressive array of visual effects.

A few new Star Wars The Last Jedi VFX featurettes have surfaced online showing how Andy Serkis was turned into Supreme Leader Snoke, how the climactic Battle of Crait was created, and the immense amount of detail that went into one massive digital set extension. Read More »

Star Wars The Last Jedi Visual Effects

We just found out Star Wars: The Last Jedi will be arriving on digital download on March 13, 2018 and on 4K Ultra HD Blu-ray and Blu-ray disc on March 27, 2018. The release will feature all sorts of special features, including a full director’s commentary and a feature length documentary about the making of the film. But before that, we’ve got something else cool for hungry Star Wars fans.

Industrial Light and Magic has just released a short video about the visual effects that went into creating the opening space battle, where the Resistance tries to hold off First Order fighters while bombers slowly make their way over the surface of the massive Dreadnought. This The Last Jedi visual effects breakdown shows how footage entirely generated with visual effects was combined with green screen set coverage to create the exciting action sequence. Check it out. Read More »

Rick and Morty - Pickle Rick - Morning Watch

(The Morning Watch is a recurring feature that highlights a handful of noteworthy videos from around the web. They could be video essays, fanmade productions, featurettes, short films, hilarious sketches, or just anything that has to do with our favorite movies and TV shows.)

In this edition, take a closer look at the visual effects work that went into Kong: Skull Island and the biggest version of King Kong that cinema has ever seen. Plus, watch a faux commercial for a Pickle Rick action figure inspired by a recent episode of Rick and Morty, and an impressive sci-fi short film called Seam directed by twin brothers who hope to turn it into a feature. Read More »

Rogue One Virtual Sets

Everyone knows that visual effects are required in order to bring a movie like Rogue One: A Star Wars Story to life. They may be more advanced than when George Lucas first took us to a galaxy far, far away, but we wouldn’t have the worlds, spaceships and creatures necessary to bring Star Wars to life without the magic of visual effects.

In the case of Rogue One, there are plenty of sequences that are composed entirely of visual effects, whether they’re space battles or environments that are composed entirely of digital pieces. However, there are some sequences where you might not have realized that a partial virtual set was employed. Instead of throwing actors into a room that is entirely green/blue screen, the crew built proxy sets where the nitty-gritty details would be added in post-production by Industrial Light and Magic. They’re details that you never would have thought were visual effects.
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Rogue One

This week brought Rogue One: A Star Wars Story to Blu-ray and DVD, allowing fans to bring home the first Star Wars spin-off home to watch over and over again with the added bonus of finally being able to watch Star Wars: A new Hope right after.

Besides that, you’re likely going to be rewatching all of the scenes with K-2SO on repeat, since he stole so many scenes from his human counterparts. That’s thanks to actor Alan Tudyk (A Knight’s Tale, Wreck-It Ralph, Firefly), who not only provided the voice of the reprogrammed Imperial droid, but also did the motion capture performance on set with the rest of the actors.

We had a chance to sit down with Alan Tudyk along with Industrial Light and Magic animation supervisor Hal Hickel to talk about how they brought K-2SO to life, from his inception, to finding his voice, to figuring out his movement and more. We ran part of this interview regarding the original journey K-2SO had in earlier drafts of Rogue One, but this is the full Alan Tudyk interview with insight from Hal Hickel along with it. Read More »

Rogue One

Industrial Light and Magic is at the top of their game when it comes to technology and advancements in visual effects. The work on Rogue One: A Star Wars Story done by John Knoll, Mohen Leo, Hal Hickel and Neil Corbould was even nominated for an Academy Award this year, though sadly they didn’t walk away with the trophy. Now we’d like to offer a sneak peek at some of the tools they use to bring Star Wars to life.

A couple weeks ago, /Film visited Industrial Light and Magic as part of a press event for the home video release of Rogue One: A Star Wars Story (available on Blu-ray and DVD today). While there, we were given a demonstration of how ILM used their state of the art technology to give director Gareth Edwards the freedom he needed to shoot complicated visual effects sequences in such a way that he was able to create a shot one day and see it fully rendered in the first teaser trailer for Rogue One just five or six days later. Read More »