alt.movies.visual-effects FAQ (May 1996)
Fletcher Chenn
Here is the latest version of the alt.movies.visual-effects FAQ. I have
added a lot more information, since the previous post.
-----------cut here---------------
ALT.MOVIES.VISUAL-EFFECTS
(a.m.vfx)
Frequently Asked Questions
Compiled and Maintained by
Fletcher H. Chenn
flet...@interport.net
che...@cs.nyu.edu
Version 0.2
01 May 1996
* D R A F T *
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COPYRIGHT NOTICE
Copyright (c) 1996 Fletcher H. Chenn
All Rights Reserved.
This document may be distributed, reproduced, transmitted and/or referenced
in whole or in part as long as (1) this notice and the author and
contributors section remains with any portion of this FAQ that is
referenced; (2) no profit is gained for use of this FAQ; and (3) the
contents are not modified in any way. This FAQ may not be included on
commercial collections or compilations without the express permission from
the author.
DISCLAIMER
Every effort has been made to maintain the accuracy of the information
provided herein. However, the author and contributors cannot accept any
moral or legal liability for inaccurate or outdated information contained
within. Furthermore, certain information presented in this FAQ is based on
the opinions and experiences of the author and contributors, and cannot be
taken to be legally binding. All trademarks referred to in this document are
the property of their respective owners.
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Comments, contributions, questions and suggestions are welcome and should be
directed to Fletcher H. Chenn at <flet...@interport.net> or
<che...@cs.nyu.edu>.
Contributors:
Donald L. Ayrton (DAY...@eagle.wesleyan.edu);
Alan Boucek <abo...@panix.com>;
Randy Butcher <ReelS...@msn.com> (Reel Stunts Productions);
coo...@ibm.net;
Jonathan Chang <ja...@columbia.edu>;
Colin "Spaz" Cunningham <co...@coredp.com> (C.O.R.E. DP);
Benjamin Craig <be...@cyllene.uwa.edu.au> (R.A.M.P. FAQ);
Paul Griswold <Fus...@netcom.com> (Fusion Films);
Michael Hall <mh...@NETAM.NET>;
Tim Haupt <mind...@eskimo.com>;
Hal Hickel <h...@pixar.com> (Pixar);
Jim Janecek <jan...@tezcat.com> (Personal Effects Inc.);
Alan Latteri <al...@pobox.com>;
J. Hall Manzanita <man...@dorsai.org>;
Matt Merkovich <fxm...@aol.com>;
Clarence Morse <ilu...@execpc.com>;
Christine Ng <cs...@MIT.EDU> (R.A.M.* FAQ);
Scott Mankey <man...@shell.portal.com>;
poli...@wil.net;
reylyn <rey...@aloha.net>;
murr rhame <mu...@vnet.net>;
John Samson <pu...@usa.pipeline.edu>;
William Teegarden <gre...@ix.netcom.com>;
tik...@aol.com;
Susan <jfu...@netzone.com>;
Chris Quinn <sn...@nyc.pipeline.com>;
tik...@aol.com;
tmac...@aol.com;
Chris Trimble <tri...@panix.com>;
Harry Walton <ha...@spimageworks.com> (Sony Pictures Imageworks);
Mark Whitney;
TABLE OF CONTENTS
Key: ! = incomplete; * = new; + = additions/changes
I. Introduction
II. Frequently Asked Questions.
! A. How do I get into the industry? (and related issues)
1. "I wanna be a [insert your film career here]. How?"
2. "I wanna work in movie FX. How?"
* 3. Is a "Please return when finished viewing" label on a
demo reel ok?
* 4. How do I get started in stunt driving or precision driving?
5. Which is better, a technical background or an art background?
6. How important are internships before you get a paying job?
! B. What schools have film programs or FX classes and programs?
1. Film Schools
* a. UCLA Extension, Entertainment Studies
* b. NYU Tisch School of the Arts
!1.2.1.c NYU School of Continuing Education
2. Special Effects Schools and Workshops
* a. Joe Blasco Makeup Centers
b. AnimAction / Bridges
c. SGI Silicon Studios
* d. Visual FX/Filmmaking Instructional Package Web Page
3. Internship Programs
a. ILM Internship Program
! C. Blue screening?
* 1. Bleeding of the blue background around objects.
* 2. What's the difference between blue and green screening?
III. How'd They Do That?
* A. The Forrest Gump Feather Sequences - CGI or not?
B. Flipping Cars with mortar (Broken Arrow/Last Action Hero)
C. How do I make fake blood?
IV. Sources
A. Magazines
1. Cinefex
2. Cinefantastique
3. SPFX:Special Effects Magazine
4. American Cinematographer
* 5. Hollywood Reporter
! 6. Starlog/Cinemagic
! 7. Cinescape
! 8. Other Magazines of Interest
B. Television
1. Movie Magic
2. Hollywood Effects Masters
* 3. Hollywood Stunt Masters
* 4. Behind the Scenes (E!)
* 5. "Making of..." shows
! C. Videotapes
! D. Books
+ E. Internet
1. Usenet Groups
a. alt.movie.visual-effects
b. rec.arts.movies.tech
c. rec.arts.movies.production
! d. Other groups
* 2. Mailing Lists
a. Show-Fire Special Effects Mailing List
b. CG Character Animation Mailing List
c. Animator's Mailing List
* 3. World Wide Web
! F. Recent Events
* 1. Recent Magazine and Newspaper Articles
* 2. Recent and Upcoming Events
* 3. Television Shows Currently Airing
* G. Where Can I Purchase Effects-related Supplies?
* 1. Burman Industries
* 2. Contact Lenses Online
* 3. Michael Burnett Productions
* 4. DeLaMare Engineering
* 5. Pink House Studios
* 6. Theatre Effects
* 7. Tri-Ess Sciences
V. Definitions and Acronyms
VI. Special Effects Industry Yellow Pages
+ A. West Coast, USA
+ B. East Coast, USA
+ C. Canada
+ D. Europe
+ E. Asia
F. Australia
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I. INTRODUCTION
Alt.movies.visual-effects is a forum for the discussion of movie and
television effects. This group is read by people in the effects industry
and non-industry people with an interest in effects. Current posts include
technical questions about specific movie sequences and requests for advice
on how to film an effect, as well as notices of upcoming live events and
television specials and magazine articles relating to special effects. As
with any other newsgroup, there are several questions that come up
repeatedly. This FAQ summarizes answers posted by readers to commonly asked
questions that have appeared in alt.movies.visual-effects. In addition,
this FAQ will also act as a resource to effects related sources and
information.
While the group name uses the term "visual effects," this does not mean that
the group focuses solely on visual effects (such as optical or CGI) to the
exclusion of other forms of "special effects." Discussion of all forms of
effects are welcome.
Please note that although there is a distinction between "special effects"
and "visual effects," I have not made such a distinction in this FAQ.
However, answers by contributors may make this distinction. I believe that
the generic, all encompassing term used by the movie-going public is
"special effects." No flames please.
This FAQ is posted on a monthly basis to alt.movies.visual-effects and is
cross-posted to rec.arts.movies.production and rec.arts.movies.tech. The
next version should also be posted to news.answers and archived at rtfm
(pending approval by the *.answers moderators). If there are other groups I
should cross-post to (i.e. comp.graphics.animation, rec.arts.animation, the
the star wars (rec.arts.sf.starwars) and star trek (rec.arts.startrek.____)
groups), let me know.
You can always request the latest edition by sending me e-mail at the
addresses listed on the first page.
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II. Frequently Asked Questions
--------------------------------------
A. How do I get into the industry?
1. "I wanna be a [insert your film career here]. How?"
by Benjamin Craig <be...@cyllene.uwa.edu.au>
From the rec.arts.movies.production FAQ (Subject 10.)
There are no hard and fast rules about breaking into the film industry. It's
extremely hard and very competitive. Many many many people dream of working
in the movies, but fall by the wayside in their attempts because it's
impossible to break in. The film industry lives off the concept of "who you
know" and quite frankly, that is the only way you're really going to get
anywhere. If you don't know anyone in the industry, go out and meet them.
Spielberg spent day after day down on the Universal lot, bugging them until
they gave him a job.
Also don't aim for the top (straight away). So you want to work for ILM in
special effects (reality check time) you and about a billion other people.
The thing that is over-looked these days is that there are a multitude of
other companies that do the same work as ILM, but just don't have the
profile. Try them first, particularly the small, budding ones, as they are
probably more likely to give you a job. And once you're in the field that
you want, it's up to you to prove that you've got so much talent that ILM
will come running to YOU.
I found a book recently published by the American Film Institute which deals
with this very subject. It has information for beginners (such as "what does
a producer do?") and interviews with many industry professionals regarding
their areas of expertise. Interviewees include George Lucas, Robert
Greenberg, and many more.
Getting into Film
By The American Film Institute
--------------------------------------
2. "I wanna work in movie FX. How?"
By Jim Janecek, Personal Effects Inc.
From the rec.arts.movies.production FAQ (Subject 10.1)
This response is bent towards live-action as opposed to computer graphics,
as that is my background, hope it helps.
Since I do not reside in CA I can't really give you any practical advice
about work in CA, however, I can tell you that the best way to jump-start a
career in SFX is to work for a company doing SFX. However, they probably
won't just hire you unless you come highly recommended or have useful skills
such as sculpting or fabricating or electronics.
So what do you do?
You work for free. As a Production Assistant (or gopher).
You get a copy of the LA 411 guide (call LA phone info or check out the
library) find all the SFX companies and tell them you want to work in FX,
NOT THAT YOU WANT A JOB, just that you want to work. You'll work for free.
It's hard to say no to a person who will work for nothing. This is the
fastest way I know of to break into any field.
However, be aware that egos drive a lot of people in the business. Many
people are very protective of their techniques and methods, so they may
think you are a "spy" or something, you may run into that type of mentality.
BIG TIP: Do not pretend you know everything, play dumb and soak up as much
info as you can. An FX company doesn't want a person who always thinks they
have a better idea or knows a different way of doing something. (your idea
may actually be better, but you really are not in a position politically to
offer it.) They want an empty page to work for them that they can train or
mold to do things "their" way.
After a while they may decide to pay you something, or maybe not, but in the
meantime, you have established a "presence" in the "biz". You will meet
other people in the biz and they will think you already work at so&so's FX
company.
The rest is up to you. Once you are in as a Production Assistant, you can
look around at various fields within the FX business and see if you have a
place there.
--------------------------------------
3. Is a "Please return when finished viewing" label on a
demo reel ok?
The original question came from Alan Latteri <al...@pobox.com> on March 10,
1996:
When sending out demo reels, is it inappropriate to have something to the
affect of "Please return when finished viewing" ? The reason I ask is
because I saw this on a title house's demo reel, it also gets very expensive
shipping all these things out.
Here are some responses:
From Tim Haupt <mind...@eskimo.com>. (March 10, 1996):
Sure it's appropriate if you want it back. Including a return envelope with
address and postage will also improve your return rate. A follow up call to
see if they had received and reviewed the material might be even better, as
then you would be making a real live contact, and might get some input.
It might be best if the "potential customer" kept it on hand. They might
not use you for a current project, but your talents might be just what's
needed for the project 6 months from now.
=====
From Matt Merkovich <fxm...@aol.com> (FXMatte) (March 10, 1996):
This may sound strange, but I dislike getting reels returned. When I send
out a reel it often doesn't result in work for weeks, months or even years.
Not to mention, the directors and visual effects producers you send reels to
will probably show your reel to others (if it is good). This is what you
want: more exposure. The cost of sending out reels is a promotional expense
that I view no differently than the pizza parlor down the street paying for
all of those promo flyers left on my apartment door or under the windshield
of my car. They certainly don't want them back.
While I too have seen the "please return" label on demo reels, it is
something I personally disagree with in terms of promotion philosophy. If
you send out demo reels to land a full time position, having your reel in
the recruiter's office if there is no position currently available increases
your chances for future employment far more than if the tape is returned to
you. If you are sending out reels for freelance work, the same thinking
applies."
=====
From Chris Trimble <tri...@panix.com> (March 10, 1996):
I don't think anyone at our shop has a problem with sending reels back.
Lots of people applying are students and just can't afford dozens of 3/4"
tapes. I think we send it back as default, actually (unless we ask to hold
onto it).
About having reels left around at houses like pizza coupons... if you've
been doing it for years and Star Wars, Empire Strikes Back, and the Abyss
are on your reel, then that's probably a good idea. If you're just getting
started, you're going to have a lot better stuff on your reel in 6 months
anyway, so don't waste your money if you don't have to.
--------------------------------------
4. How do I get started in stunt driving or precision driving?
The original question was posted by Clarence Morse <ilu...@execpc.com> in
rec.arts.movies.production on March 28, 1996:
I would like to get involved with stuntdriving or precision driving in films
or commercials. I currently have experience racing autos and would love to
move into films using these talents. Does anyone have any suggestions?
Here are some responses (all posted to r.a.m.p.):
From Randy Butcher <ReelS...@msn.com> (Reel Stunts Productions)(Mar. 30,
1996):
It's rare these days to find stuntmen(women) specializing in any one field
despite the fact it might have been this special field that got them into
the business in the first place. Learn as much as you can about other
aspects of the stunt business and you'll be greatly respected for it.
Where do you live? Near a major film center like L.A., New York? If not,
my advice to you is to go to where the work is.
Although your racing skills will definitely be an asset to your stunt
driving career, there are many things you won't have learned. My suggestion
is that you call the Screen Actors Guild in L.A. or one (or all) of the
major stunt companies in L.A. (Stunts Unlimited, The International Stunt
Association, Stuntmen's Association) and ask their help. Perhaps someone
there can suggest a school of some type (although doubtful). I train people
now and again, but rarely. As well, I'm in Southern Ontario working out of
Toronto mostly.
Best of luck and don't give up.
=====
From Susan <jfu...@netzone.com> (March 28, 1996):
Buy a weedeater?
Stuntguy told me, "There are a whole lot more stuntmen out there than there
are jobs. That's why we're all lining up at (stunt coordinator's) door to
mow his front lawn. We're all over there doing home repairs trying to get
on his good side."
There was a stuntman doing a very brief fight scene with Charlie Sheen. He
got punched, he fell backwards, he got dragged away. I went to dust him off
between scenes and said something like, "oh, this must be getting a little
old."
He said, "Every time Charlie drags me across the parking lot, it's another
(big pile o' green). He can drag me around for the rest of the day, if he
wants too."
I don't remember exactly how much he was getting per drag. It approached my
weekly pa salary, though, so you can really see the attraction of mowing
some guy's lawn.
=====
From reylyn <rey...@aloha.net> (March 29, 1996)
The [previous] reply was correct in every sense. However, you probably need
to know more about how to get in touch with these stunt people:
Your goal is to obtain a SAG card somehow. Get an 8X10 professional
headshot taken and put together some kind of resume. Register with some
"extra companies" - find anyway to get on that film set! You've got to
put yourself in front of these guys. Its important to be persistent but
not pushy or annoying. Practice your skill constantly and take up other
sports as well. Plan on attending Show Biz Expo in LA this year. The
stunt associations usually have a booth or two set up.
While your beating on those doors, plan on having lots of patience!
=====
From poli...@wil.net (March 29, 1996):
Send a resume to every stunt coordinator and stuntperson you can and cross
your fingers to start with.
--------------------------------------
5. Which is better, a technical background or an art background?
The original question came from Jonathan Chang <ja...@columbia.edu>:
Thanks for the posting and letting people know that the industry is looking
for good character animators. I, however, am a student and do not know what
kind of things the industry is looking for. Is your company looking for
computer character animators or traditional character animators? In any
case, please post more information about what the industry is looking for in
a future special effects artists/employees.
Here are some responses:
From Alan Boucek <abo...@panix.com> (Oct. 22, 1995):
A good character animator can always learn how to use a computer, but not
necessarily the other way around. In general, artistic ability is far more
important than technical fluency. Most good artists find it very important
to know their tools inside and out though.
=====
From Paul Griswold <Fus...@netcom.com>
You got it!
Although, for our upcoming project, we really need people with a strong
computer character animation background.
Nothing pleases us more, however, than someone who actually has a good
background in the traditional arts.
--------------------------------------
6. How important are internships before you get a paying job?
The original question came from anu...@aol.com:
What about internships; how important are they before you get a paying job?
Here are some responses:
From Chris Trimble <tri...@panix.com> (Sept. 27, 1995):
An internship is only important if it is meaningful to the employer you're
aiming to get a job with. An internship as a video engineer at a post house
can really mean jack-squat when you're trying to get a job as a character
animator. Lots of internships ARE meaningless, and that's part of the
problem. The minute you start talking about how you filled staplers at your
summer internship, the potential employer is just going to go onto the next
thing on your resume. Sometimes, you do find an internship that has you
doing real work. You'll usually see this at smaller houses. This is what
you need to seek out. You should be as skeptical about taking the
internship as they are about giving it to you. It might be a waste of your
time.
Of course, if you get an internship at the same house you'd like to work
for, that may mean a lot more... even if you did empty the garbage. ;-)
> Eventually my wish would be to work at ILM (wouldn't everyone,
> laughs) or some other film FX studio.
Point I think worth noting. You should learn about LOTS of the effects
houses before aiming towards one. All of them have an attitude and way of
working... you need to find one that you'll be happy at. And, I don't mean
just look at their work. Find some people who work there or have worked
there or know people who work there and ask them how they liked it and what
working there was like.
> My other question is just how good do you have to be to
> get a job (or internship) with a large company (like ILM)?
Listen, there are 2 million people with Infini-D and a Mac AV that are
sending their resumes and reels to ILM. In other words, you do have to make
yourself stand out a bit. In my experience, unreadable resumes, provocative
demo reels, ripoffs of better animations, and length of demo reel don't help
for much. Here is the main thing to think about: work on getting an
INTERVIEW FIRST ... not a JOB FIRST. Be confident that when they meet you,
and you get a better chance to explain yourself, you'll convince them about
the job part. Everyone who's doing the interviews realizes the catch-22
about the experience, so don't think you have to make yourself bigger than
you are.
hope it helps,
-trimbo
who works at a small house so take it with
a grain of salt
=====
From Eric Schafer <esch...@imap1.asu.edu> (Sept. 29, 1995):
Agrapha (agr...@aol.com) wrote:
: I'm an animator, and FX designer. >At companies like ILM,
: you'll end up doing the grunt work.< they interviewed
: me for technical support (shuffling and converting files).
[...]
True, you might end up doing what's in the job description ;-). Interesting
dilemma though: big companies have more specialized jobs. I did an
internship at ILM over the summer (but don't e-mail me asking for Jorge's
cell phone #!). Intern jobs varied tremendously, from "filling staplers" to
doing actual production work.
My internship advice (for what it's worth): be as specific as you can when
saying what you'd like to do, in what department, and how you can
contribute. Luckily, I ended up doing what I said I wanted to do (visual
effects software development), learned some very useful (though proprietary,
damn)--stuff, and made some meaningful contributions for Jumanji TD's. Yet
another saying comes to mind:"Be careful what you ask for; you might get
it."
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B. What schools have film programs or FX classes and programs
Here are a list of schools and programs available that train you in effects.
Each effects house may run an internship program for students. Harry Walton
<ha...@spimageworks.com> (March 14, 1996) wrote: "[I] don't know of any
schools that teach special effects but UCLA or USC would be great schools
for film making in general. Special Effects or Visual Effects is something
you would have to learn on the job. In general you can prepare yourself for
an effects career by studying such things as Art, Design, Sculpture,
Chemistry, Physics, Mechanical Design and Engineering and Architecture to
name a few.
--------------------------------------
1. Film Schools
a. UCLA Extension: Professional Studies in the Entertainment
Industry
UCLA's Film, Television, Video, New Media, and Theatre division has
extensive programs related to effects, including, inter alia, sequences
titled Digital Creation for Film and Television, Computer Modeling,
Animation and CAD, The Collision of Games and Movies, Special Visual Effects
Cinematography, Digital Visual Technology, and Introduction to Creating
Digital Effects: An Intense Silicon Graphics Workshop.
Contact UCLA to request a course catalog from UCLA Extension, Entertainment
Studies Room 437, PO BOX 24901, Los Angeles, California 90099-2137.
Call (310) 825-9064. The phone number to enroll is (310) 825-9971 (Fax:
(310) 206-3223)). In person registration in Westwood is at UCLA Extensions
Building, 10995 La Conte Ave, (310) 825-9971 and in Universal City at UCLA
Extension Center, Universal CityWalk, 1000 Universal Center Drive,
(818) 752-7398
--------------------------------------
b. New York University Tisch School of the Arts
(This section is blank.)
--------------------------------------
2. Special Effects Schools and Workshops
a. Joe Blasco Makeup Centers
Joe Blasco Makeup Centers are located in Hollywood, CA ((800) 634-0008) and
Orlando, Florida ((800) 252-7261)) and provide 4 and 10 week programs in
makeup effects, prosthetics, etc.
b. AnimAction / Bridges
Someone posted a question about the Bridges animation program offered by
AnimAction in Santa Monica. If anyone has any information and/or comments
about this program, please send me e-mail.
c. SGI Silicon Studios
Call (800) S-Studio for a course catalog describing their classes. It's
sponsored by Silicon Graphics and is located in Santa Monica, CA. Courses
include Alias power animator, Studio/AutoStudio, designer, wavefront
dynamation, kinemation, explorer/visualizer. Electrogig 3dgo, and side
effects PRISMS. and of course the "Silicon Studio Solutions" software.
tmac...@aol.com says that classes are expensive, but that "you can get
exposure to the software/hardware that a lot of industry uses. The best
part is after you finish one of the classes (can't remember which one) you
will write it to tape, thus you have a reel. After you take a class they
will rent the equipment to you for $25 per hour (of course you can't use it
for production). I don't know of any other place that does this."
d. Visual FX/Filmmaking Instructional Package Web Page
Lee Stranahan sells an instructional video/CD-ROM training package for film
makers, visual effects artists, videographers. and 3D animators called
"Access Denied : The Art Of Visual Effects Film Making." Stranahan's ad
states that "the package includes both an entertaining and instructional
videotape, and an information packed CD-ROM." The cost is $69.96. You can
reach them at Kstra...@aol.com or
http://users.aol.com/stranahan/access.htm
--------------------------------------
3. Internship Programs
(this section is blank)
--------------------------------------
! C. Blue screening?
Several threads appeared on a.m.vfx regarding blue screening techniques.
--------------------------------------
1. Bleeding of the blue background around objects
The original question was:
If most optical compositing was done with color difference, I always wanted
to know why some scenes in the Star Wars movies, particularly the first one
had blue lines around pilot's helmets, and ships occasionally getting a blue
tinge when they flew fast past the camera?
Here are some responses:
From John Samson <pu...@usa.pipeline.edu> (March 5, 1996):
It is possible to determine which system was used. If you see blue edges on
the Star Wars models, then bluescreen was used. This is one of two things:
blue spill, where blue light from the blue backing used to separate the
foreground models reflects, or "spills" onto the foreground object surfaces.
Or it is the edge on the film itself where the foreground model and blue
backing mix. In this area the blue backing could be significantly darker,
or lighter, than the backing itself, making it different from the blue of
the backing enough to not disappear in the final composite, yet close enough
in hue that it still appears as blue.
With modern digital compositing, colors can be selectively desaturated, so
that all blue tones in an image can be drained of color, or changed to
another color to blend it into the foreground.
=====
From coo...@ibm.net (March 5, 1996):
In the star wars movies, that blue edging seems mostly to occur with live
action scenes, less so with models. I read once where with certain
foreground objects, you can sometimes just make RGB separations, and then
just copy the green separation twice to get a "cheap" color difference
effect. Since most of the Star Wars ships are just gray with some red
paint, I bet that's what they usually did with the model shots.
But with the live action some of it looks like regular bluescreen or
something was done wrong, or both regular and color difference opticals was
used. A good example is in Return of the Jedi. These fighters knock out a
tower on the super star destroyer, and when it blows, the smoke is blue
colored around the edges. Two officers spot a fighter on a collision
course, and when they turn to duck the edges of their uniforms turn a bright
blue!
=====
From Hal Hickel <h...@pixar.com> (Feb. 29, 1996):
Nick Passino <pas...@garply.com> wrote:
>>> (Original post deleted)
>>
>> I don't know that it is possible to tell which system was used
>> by looking. And even color difference is not perfect. You'd
>> need to ask someone who worked on the film. Likely some of
>> these imperfections are what they are cleaning up for the re-release.
>
> It's because Star Wars was pretty much the first film to do it, and
> as it was a new technology, didn't have the edging precision that
> we do now.
Actually the "Color Difference" Blue Screen process was developed by Petro
Vlahos for the Motion Picture Research Council. Subsequent development of
the process for production applications was conducted by Walter Beyer of
Universal Studios and W.E. Pohl of Technicolor.
See Walter Beyer, "Traveling Matte Photography and the Blue Screen System",
American Cinematographer, May, 1964, pg. 226.
--------------------------------------
2. What's the difference between blue and green screening?
This question was posted by Scott Mankey <man...@shell.portal.com>:
What's the advantage of using a green screen over a blue screen? Isn't it
the same technique, just different colors? Perhaps a green screen gives
less of a green fringe around the subject than the sometimes noticeable blue
fringe.
A similar question was also posted by Mark Whitney:
I wonder though why blue was used exclusively in the old optical days, even
when the foreground was blue colored. In the superman movies, some shots
were traveling matte and they used bluescreen even though the costume was
blue, that must have been tough to matte.
Here are some responses:
From William Teegarden <gre...@ix.netcom.com> (13 Jan. 1996)
(in response to Scott Mankey's question.):
It's because green screens have minimal amounts of red in them. When
shooting actors against a green screen, it's often easier to key out the
green than to key out blue, as skin tones contain obvious red. Since green
has almost no red in it per say, getting a clean matte is easier.
Also, suppose your actor was wearing a blue shirt.
=====
From Chris Quinn <sn...@nyc.pipeline.com> (Jan 13, 1996)
(in response to Mark Whitney's question):
The truth must be told! Blue resolves much higher then almost any color.
Just as red is a long wave length blue is quite short, this is why you can
pull a matte from blue with finer detail then with green or other colors.
Now that most matte work is done in real time on a computer if you give the
computer an easier (sic) job it does it faster and blue my friends is easy
and fast.
=====
From coo...@ibm.net (Jan. 15, 1996)
(in response to Mark Whitney's question):
Blue may be a shorter wavelength, but I thought grain was the important
factor in better matting work. At least in digital, I have read that Rob
Legato who did stuff for Star Trek and Apollo 13 used red or green
background apparently because the emulsion layers are less grainy and get a
crisper matte.
As for superman, true front projection was used a lot, but the screen had a
limited size, so for shots of superman flying into the distance or vice
versa, he had to be optically shrunk. Plus I read that they couldn't get
the zoptic license for Superman IV so they did all the flying shots on that
one entirely bluescreen.
---------------------------------------------------------------------------
III. How'd They Do That?
This section includes frequently asked questions from a.m.vfx on specific
effects sequences and how they were done (or how to do them). I will add
any questions that raise a decent discussion with a continuing thread. If
the question is simply answered in a sentence (or by saying, "See Cinefex
#xx), it probably won't make it here. :-)
--------------------------------------
A. The Forrest Gump Feather Sequences - CGI or not?
Someone posted a question regarding the feather sequences in Forrest Gump.
Basically, the poster wanted to know if the scenes used a real feather or if
it was entirely computer generated. This response was based on the "making
of" segment on the Laserdisc. This question raises a lot of debate, as can
be seen from the end of Nick's answer. Aside from the original question,
another issue that arose is the distinction between CGI and images that are
scanned and manipulated with a computer. The remaining posts touch on this
issue.
From Nick Passino <pas...@garply.com> (Date: Mar 11 1996):
Okay- I JUST finished watching the "making of" from my LD- here's exactly
how it was done:
A feather was tied to a wire and shot bluescreen, twisting twirling etc.
The opening sequence was choreographed and shot w/o the feather, except for
one on hanks' foot.
The bluescreened feather sequence was digitized. Then this was SEVERELY
manipulated on a SG to match the opening (real shot) camera shot. The
feather was perceptively changed to float forwards and backwards (depth not
in the bluescreen), twirled sideways and upside down, looping, hovering,
being pushed by the wind of the car (CG on the reflection on car glass and
car paint), resting on a guy's shoulder (not in the bluescreen), then
finally morphed onto the one on tom's foot.
They had to take all of the bluescreened footage, and select very specific
feather angles for some of the stops, and paste together their own twirling
sequence for the whole shot. In short, the way it twirled and danced was
-not- what you see in the movie. They pasted very specific frames together
for this, then changed the virtual distance from the camera, 3d
spacial(depth), angle (up down sideways, etc.), stops and just about
everything else to come up w/ the final sequence.
So- IMHO it's CGI, because even the dinos in Jurassic started from real,
scanned images of skeletons, real animal movements, etc. They started from
real stuff, and made what they needed for the film. This is exactly what the
did to the feather too. The fact that they twirled a feather in front of a
bluescreen -doesn't- make it not a CGI sequence.
=====
From tik...@aol.com (10 Mar. 1996)
CG or CGI? I think we are splitting hairs over definitions.
When I started working on *Computers* doing *Graphics* it was known as CG
(that would have been in 1984 - on the Genigraphics Workstation). So, based
on that - I see CG as Computer Graphics. Now, as the years have gone by,
the overall conception and definition of the word might have changed.
Now, CGI - means Computer Generate Image. This would be the Dino's and ole
Buzz Lightyear, and tons of other things that most people do not even
realize.
As for the "Feather" that got this whole debate started. It was shot as a
blue screen element. But, it was animated in a match move application by a
animator (working on a computer). There were several takes and sequences
that were merged together to create the final feather sequence - which was
then digitally composited into the bg plate. So, it was not a *Computer
Generated* element - but more a Digitally Manipulated element.
Let the debate continue . . .
=====
From Colin "Spaz" Cunningham <co...@coredp.com>(Mar. 6, 1996):
> It was a real feather digitally manipulated and composited. I
> guess that makes it non CG but where do you draw the line.
> If they had scanned a real feather and mapped it onto a CG object
> would it be CG of still just a fancy composite.
Well, you'd say the feather was a real element just manipulated digitally.
It wouldn't be right to say that the feather is CG 'cause that would imply
the element itself is computer GENERATED (which it isn't). If you scanned in
a photo of a feather and mapped it onto 3d geometry, then it would indeed be
a CG element. People scan in photos all the time for texturing purposes, so
if I scan in elephant skin and apply that to a 3d object of an elephant, the
final rendered element wouldn't be considered "practical". IMHO, it's pretty
obvious where to draw the line.
=====
From Chris Trimble <tri...@panix.com> (Mar. 5, 1996):
Items shot on blue/greenscreen and digitally composited are not CG. CG, at
least where I work and I'd guess throughout the other major houses, stands
for COMPUTER GENERATED. That means that it's modeled, animated, lit, and
rendered using a computer. Digital enhancement and keying are not CG and we
call those "Flame Jobs" or "Paintboxing". I did a spot where I had to
_raytrace through_ a live object, and I still don't call that CG.
--------------------------------------
B. Flipping Cars with mortar (Broken Arrow/Last Action Hero)
DONALD L. AYRTON (DAY...@eagle.wesleyan.edu) wrote:
I recently saw the trailer for BROKEN ARROW and one effect really caught my
eye: The overhead shot of the shockwave passing (and lifting) a Humvee.
How'd they do that? I'm guessing lines of det cord buried in the sand and
set off with a nail board, and perhaps some sort of pneumatic gimmick under
the Humvee to lift-n-tilt it.
=====
Jim Janecek of Personal Effects Inc. replied:
Det cord would only make the sand fly apart.
I haven't seen the trailer yet, so I can only surmise that it was done
traditionally:
The normal way vehicles are popped up or rolled is to weld a steel mortar to
the frame that can hold a piece of telephone pole (cut down to about 2 feet
long). The wood chunk is crammed into the mortar with an explosive charge
at the end. When the charge goes off, it propels the telephone pole into
the ground. The mortar is long enough so that its only a few inches off the
ground so once the pole has nowhere else to go, the vehicle will rise up
away from the ground. The rapidly expanding gases in-between the pole and
the end of the mortar are pushing the vehicle up and eventually over.
You can see this effect in LAST ACTION HERO, I think the first scene is
Arnold running away from a house as it blows up and the concussion is
supposed to flip a squad car over.
They shot it so you can see the pole come flying out of the bottom of the
car when it goes off. It didn't matter because they were filming a movie in
the film.
--------------------------------------
B. How do I make fake blood?
J. Hall Manzanita <man...@dorsai.org> writes:
In response to fake blood, get a bottle of Kayro Syrup (or any other light
corn-syrup), add in red food coloring, a little blue, and just a touch of
green. Obviously, most of the food coloring you use should be red. By
experimenting with the amount of blue and green, you should be able to come
up with some very realistic looking blood. However, this will not "run
freely from a wound", but it will do well for bloodstains, zombies, gunshot
victims, etc. I can't off the top of my head remember how to do flowing
blood. Anyone else remember how? Oh, and if you're doing a horror movies,
the above recipe is safe for the talent to eat."
=====
murr rhame <mu...@vnet.net> writes:
MB2 BLOOD FORMULA
Flour Base:
7.5cc to 10cc plain all purpose flour per cup (250cc) of water. (7.5cc = 1/2
level tablespoon , 10cc = 2 level teaspoons) Mix flour into water completely
(no lumps) before heating. Bring to boil then simmer for 1/2 hour. Stir
frequently.
Let cool before adding food color. Stir in any surface scum. Makes a good
base for stage blood. Slightly slimy. Fairly low surface tension. Soaks
and spreads well.
One cup batch of MB2:
1 oz (29cc) Red food coloring (Durkee (R) brand or equivalent) 1/8 teaspoon
(.6cc) green food coloring (Durkee (R) brand or equivalent) Add flour base
described above to a total of one cup (250cc).
This is both much more realistic and simpler than the old Karo (R) corn
syrup, Hershey's (R) chocolate syrup and food coloring based formula. There
is no sugar and very little food in the MB2 formula so it's probably less
attractive to insects. Shelf life is fairly short (days) at room temp.
Does not go rank but ferments a bit and looses viscosity. I have not tested
refrigerated or frozen storage. This formula will temporarily stain skin.
Seems to wash out of cotton cloths OK.
=====
Michael Hall <mh...@NETAM.NET> writes:
The Penn & Teller book "How to Play With Your Food" has a very good fake
blood recipe. It's included in the bleeding heart jello but it works very
well as stand alone and flows very naturally. Go to your local book store
and copy it out !
---------------------------------------------------------------------------
IV. SOURCES
This section lists various sources which will help you learn more about
effects. Please send me any items to add to this list.
--------------------------------------
A. Magazines
Here is a list of magazines which devote all or part of their publication to
effects. Some magazines discuss effects on an infrequent basis, but it is
worth your while to browse the table of contents page every month or so to
see if there is an interesting effects article. In addition, non-movie and
non-entertainment magazines and newspapers often have articles on effects.
Newsweek, Time, The New York Times (ILM, 1/15/96) and the San Francisco
Chronicle (ILM) are some examples.
--------------------------------------
1. Cinefex
Cinefex is published quarterly and is the definitive magazine source for
motion picture and television special effects. The magazine covers effects
on a project basis, in the sense that the reporters follow a particular
movie and discuss how the effects shots were created.
Subscriptions are mailed in paper envelopes for protection. Rates are:
$26/4 issues, $44/8 issues and $60/12 issues. Cinefex can be reached at
P.O. Box 20027, Riverside, CA 92516. Credit card orders can be made at
(800) 434-3339 or by fax at (909) 788-1793. All other inquires at (909)
781-1917. Back orders are available
--------------------------------------
2. Cinefantastique
Cinefantastique is published monthly at 7240 W.Roosevelt Rd., Forest Park,
IL 60130. (708) 366-5566. Subscription rates are $48/12 issues, $34/18
issues and $90/24 issues. Rates for Canada and other countries are $55/12
issues, $39/18 issues and $100/24 issues).
The Cinefantastique people also publish Imagi-movies which they say covers
"low-budge films, classic films, obscure films, and the people responsible
for them." Imagi-Movies does however cover big budget movies also.
--------------------------------------
3. SPFX:Special Effects Magazine
The first two issues of SPFX were published in the late 70's. In December
1995, I found the new 3rd issue on sale. It is unclear how often the
magazine will be published or whether you can subscribe. The publishers
state that the magazine will be published "irregularly" by Bohus / Harvey.
They can be reached at 70 West Columbia Ave., Palisades Park, NJ 07650.
(201) 945-1112, Fax: (201) 945-2662. A single issue is $5.95.
--------------------------------------
4. American Cinematographer
American Cinematographer bills itself as "The International Journal of Film
and Electronic Production Techniques." The magazine often has articles on
special effects, but more importantly, the publishers release a "special
effects" issue once a year. This years issue (Dec. 1995, Vol. 76, No. 12)
was a year end review of effects in 1995 movies.
American Cinematographer is published monthly and subscriptions are U.S.:
$35; Canada/Mexico: $50; all other foreign countries: $60 a year. P.O. Box
2230, Hollywood, CA 90078. (800) 448-0145, (213) 969-4333. Fax: (213) 876-
4973.
--------------------------------------
5. The Hollywood Reporter
For the past 10 years, the Hollywood Reporter has publishes a Summer Special
Effects Issue each year. The current one is scheduled for June 21, 1996.
--------------------------------------
6. Starlog/Cinemagic
(This section is blank)
--------------------------------------
7. Cinescape
(This section is blank)
--------------------------------------
8. Other Magazines of Interest
(This section is blank)
--------------------------------------
B. Television
Here is a list of television series on Cable Television.
--------------------------------------
1. Movie Magic
Movie Magic airs on the Discovery Channel. The current season airs on
Thursdays at 9:00 p.m. EST and repeats on Thursdays at 1:00 a.m. EST and
Saturdays at 7:00 p.m. EST. Reruns of prior seasons are aired at 7:30 p.m.
EST and 11:00 p.m. EST. The show is produced by GRB in conjunction with the
Discovery Channel
--------------------------------------
2. Hollywood Effects Masters
Hollywood Effects Masters aired on the Learning Channel (TLC). The show is
no longer produced, but hopefully, reruns will air on TLC, the Discovery
Channel or some other station. The host of the show was Christopher Reeves.
--------------------------------------
3. Hollywood Stunt Masters
The Discovery Channel recently aired three episodes discussing stunts and
effects in movies, including the soon to be released movie, Independence
Day. This show is different from the other Stunt shows that Discovery Airs,
where the two hosts show stuntmen performing stunts designed specifically
for the show.
--------------------------------------
4. Behind the Scenes
(this section is blank)
--------------------------------------
5. "Making of..." shows
Showtime, E!, HBO (HBO First Look) and the SciFi channels air specially
produced shows (20-30 minutes, in general) which discuss the Making of a
particular movie. Recently, these stations have aired shows on the Making
of Batman, Species, Waterworld, Apollo 13 and Blown Away. Disney also ran
the Making of Toy Story.
To a lesser extent, Entertainment Tonight always has segments on filming of
special effects in various movies. I believe Extra also has similar pieces.
These are syndicated shows.
Another show that has interesting effect segments is "How'd They Do That?"
It originally aired on CBS and is now in reruns on TLC. The shows run for
one hour and often have segments on how television commercials and were
filmed and how effects were filmed in movies. For example, they've
discussed the train wreck in The Fugitive, and the TV ads with the whale
swimming through the Boeing Jet, and the CGI polar bears drinking Coke.
Check your local listings for air dates. I generally post messages to
alt.movies.visual-effects whenever "Making of" shows are airing.
--------------------------------------
C. Videotapes
(this section is blank.)
--------------------------------------
D. Books
(this section is blank.)
--------------------------------------
E. Internet
--------------------------------------
1. Usenet Groups
Here is a list of interesting USENET newsgroups. Ask your ISP or technical
support staff how to access USENET groups.
--------------------------------------
a. alt.movies.visual-effects
There are many newsgroups that discuss movie related topics, such as the
alt.movies.*, rec.arts.movies.* and rec.arts.sf.movies hierarchies. There
are also groups focusing on computer graphics, animation
(rec.arts.animation) and groups specializing in discussion on specific
movies or TV shows, i.e. the Star Wars (rec.arts.sf.starwars) and Star Trek
(rec.arts.startrek.*) groups. You will often find discussion on effects
topics in these groups, however, alt.movies.visual-effects is the *ONLY*
group dedicated solely to effects. Hopefully posters to the group will
remember this and not spam the group with unrelated threads and excessive
discussions on particular movies which would be more appropriately posted in
other groups.
--------------------------------------
b. rec.arts.movies.tech
This newsgroup is for movie fans interested in the technical aspects of
movies and movie-making but are not actually interested in producing movies
themselves. Topics in this group includes all technical issues which are
approached from the point of view of the film-goer (aspect ratios, sound
systems, etc.) and also some topics on how movies (special effects) are
made.
From the "Where to post in REC.ARTS.MOVIES.*" FAQ by Christine Ng
<cs...@MIT.EDU>
--------------------------------------
c. rec.arts.movies.production
This is a special newsgroup for people who are interested in making films.
Topics that are discussed here include finding proper site locations,
filming contracts and budgets, where to get film equipment, what constitute
a good film school, etc. This newsgroup is primarily oriented towards
people actually producing films themselves.
From the "Where to post in REC.ARTS.MOVIES.*" FAQ by Christine Ng
<cs...@MIT.EDU>
--------------------------------------
d. Other groups
(this section is blank)
--------------------------------------
2. Mailing Lists
a. Show-Fire Special Effects Mailing List
The Show-Fire list is maintained by murr rhame <mu...@vnet.net>. The Show-
Fire mailing list is for the discussion of all special effects used on stage
or screen. This includes theatrical pyrotechnics, special rigging,
practical props, chemical effects, weather effects, unusual lighting and
similar items. The list is for discussion of all aspects of special effects
including design, construction, safety, regulations, hiring, purchase,
rental, and related issues. Practical jokes, destructive devices, and
unrelated commercial posts are off topic.
To join the Show-Fire mailing list send e-mail to <list...@vnet.net> with
the following body text (excluding quotes):"subscribe show-fire <Your Real
Name>" Your real name goes in the place shown without the <brackets>. Your
return address will be recorded automatically.
--------------------------------------
b. CG Character Animation Mailing List
The 3D Computer Character Animation List (CG-...@morgan.ucs.mun.ca) was
started to help those interested in this field to exchange information.
Subscribers consist of professionals, students, and amateurs. To find out
more information click to the CG-CHAR homepage from
http://www.cinenet.net/users/rickmay
To subscribe, send mail to list...@morgan.ucs.mun.ca and in the body of the
message, type "subscribe CG-CHAR <your-full-name>" (leave off the quotation
marks.). You can also subscribe through the list's homepage at
http://www.cinenet.net/users/rickmay/CG-CHAR/Misc.html.
--------------------------------------
c. Animator's Mailing List
To subscribe to the Animator's list, send mail to animate...@perp.com,
with the text "subscribe animate" in the body of the message (leave off the
quotation marks.). The list also has a web page at
http://www.mission.com/~gore/animate.
--------------------------------------
3. World Wide Web
This section lists several homepages on the world wide web. I have not
duplicated URLs from other sections of this FAQ. To find official sites for
a particular FX House, refer to their listing in the Yellow Pages section.
Also see the home pages for equipment suppliers and manufacturers.
o Entertainment Technology
http://www.teleport.com/~moore/entertech.html
Webmaster: Dustin Moore <mo...@teleport.com>
o Ray Harryhausen web site.
http://www.leba.net/~jrodkey/hrryhusn.html
Webmaster <jro...@leba.net>
o ILM Unofficial Homepage
http://www.teleport.com/~ilm
Webmaster: <i...@teleport.com>
o PanGalactic Page
http://www.rhythm.com/~goodman/index.html
Webmaster: John Goodman <goo...@rhythm.com>
o VISUAL EFFECTS Headquarters
http://www.kidscount.com/tv.html
Webmaster: Todd Vaziri <tva...@nwu.edu>
o Visual Effects Resource Center
http://www.visualfx.com/
Webmasters: Terrence Masson <tm...@visualfx.com> & Bob O'Haver
---------------------------------------------------------------------------
F. Recent Events
This section lists recent "making of..." television shows, recent articles
in newspapers and periodicals, recent and upcoming live events and
conventions.
--------------------------------------
1. Recent Magazine and Newspaper Articles
(This section is blank.)
--------------------------------------
2. Recent and Upcoming Events
(This section is blank.)
--------------------------------------
3. Television Shows Currently Airing
(This section is blank.)
---------------------------------------------------------------------------
G. Where Can I Purchase Effects-related Supplies?
Below is a list of manufacturers and distributors of effects equipment and
supplies. Inclusion in this list is not an endorsement for any of these
companies or their products. Special thanks to Jim Janecek of Personal
Effects Inc., <jan...@tezcat.com> for helping me compile this list.
--------------------------------------
1. Burman Industries
Burman sells videos and materials (castings and moldings). Videos are about
US $30.00. Reach them at Covello Street, Suite 6-A, Van Neys, CA 91405,
USA. Tel: (818) 782-9833.
--------------------------------------
2. Contact Lenses Online
Contact Lenses Online provides special effect contact lenses. They include
yellow/green/blue cat's eyes, vampire eyes, white eyes, black eyes, blind
eyes, Interview with the Vampire eyes, mirrored contact lenses (in hard
lenses only), red eyes, happy face eyes, just about anything you can think
of. They are safe and effective, can be worn for a limited wearing schedule
(usually 4 to 6 hours) and are made in soft lenses. They can be used for
costumes, theaters, movies, gags, fun, etc. They are not yet available for
viewing on our web pages (it's undergoing development) so for a color info
packet, please relay an address for us to mail to. Posted by Andy, a
company representative. Check http://netmar.com/mall/shops/clonline
--------------------------------------
3. DeLaMare Engineering
DeLaMare is a major provider of dets and squibs for the motion picture
industry. You need AT LEAST a BATF LOW EXPLOSIVE license to purchase
ANYTHING. Their address is 1908 First Street, San Fernando, CA 91340, USA.
Tel: (818) 365-9208
--------------------------------------
4. Michael Burnett Productions
This company sells videos only for about US $30.00. They can be reached at
P.O. box 16627, North Hollywood, CA 91695, USA.
--------------------------------------
5. Pink House Studios
Pink House sells videos and materials (castings and moldings). The life
casting tape shows how to make lifemasks, full-piece head masks; one-piece
arm and leg molds Videos are about US $50.00. Their address is 35 Bank
Street, St. Albans, Vermont 05478, USA. Tel: (802) 524-7191
--------------------------------------
6. Theatre Effects
Theatre Effects is a manufacturer and distributor of special effects
equipment and supplies for the entertainment industry. Request a catalog
from Theatre Effects Supply, Inc., P.O. Box 957, Funkstown, MD 21734-0957.
Phone: (310) 791-7646; Fax: (310) 791-7791; E-mail: ser...@theatrefx.com
--------------------------------------
7. Tri-Ess Sciences
Tri-Ess is a source for special effects chemicals and other supplies. Ask
for a Special Effects Catalog. They have a lot of other special effects
chemicals and supplies besides pyro-gel and torch fluid. Their address is
1020 W. Chestnut, Burbank, CA 91506, USA. Tel: (818) 247 6910
---------------------------------------------------------------------------
V. Definitions and Acronyms
This section will define any terms that have been used in this FAQ and on
a.m.vfx. Please send me any additional terms and definitions that you think
should be added.
o a.m.vfx = The alt.movies.visual-effects USENET newsgroup this FAQ is
based on.
o BATF = Bureau of Alcohol, Tobacco and Firearms. You need a BATF
license to purchase some explosives, and to set off or
stage some explosives and pyrotechnics.
o CGI = Computer Generated Imagery
o FX (F/X) = shortened form of the word "effects."
o r.a.m.p. = the rec.arts.movies.production USENET group.
o r.a.m.* = the rec.arts.movies.____ hierarchy of USENET newsgroups.
o SPFX = Special Effects.
o URL = Uniform resource locator. Use a web browser (Netscape,
Mosaic, or lynx from a UNIX shell) to go to the
listed sites. Web sites start with "http://"
o VFX = Visual effects.
---------------------------------------------------------------------------
V. Special Effects Industry Yellow Pages
This list will be arranged alphabetically by region. If you would like your
effects house included in this list, please provide the following
information:
Name:
Address:
Phone:
Fax:
Business Contact:
Resumes to:
General e-mail:
URL: http://
Comments: (*Brief* list of specialties, i.e. CGI, makeup, pyro)
***please be as brief as possible. Also, I am currently
not including credits in the Comments field so that
this list does not grow out of control and require
constant updating as new projects are completed.
--------------------------------------
A. West Coast, USA
o A&A Special Effects
7021 Hayvenhurst Ave.
Van Nuys, CA 91406
(818) 909-6999 / Fax: (818) 782-0635
Contact: Gladys Nary
Resumes:
e-mail:
URL:
o Amalgamated Dynamics, Inc.
Comment: Animatronic & robotic Animals, special make-up effects.
o Area51
Contact:
Resumes:
e-mail:
URL:
Comments: CGI FX for Space: Above & Beyond
o Vista Visual Effects
Walt Disney Studios
(818) 560-2735
Contact:
Resumes:
e-mail:
URL:
o The Character Shop
(818) 718-0094 / Fax: (818) 718-0967
Contact:
Resumes:
e-mail:
URL: http://www.cinenet.net/waldo
Comments: Animatronics, character design, makeup FX, puppets,
Waldo input devices
o Cinesite, Inc.
1017 North Las Palmas Ave.
Hollywood, CA. 90038
(213) 468-4400 / Fax: (213) 468-4485
Contact: See web page.
Resumes: See web page.
e-mail: See web page.
URL: http://www.cinesite.com/
Comments: Cinesite is a full service digital visual effects facility;
a blend of superior technology and creative design. We
provide a wide array of services for feature films,
commercials, simulator rides and specialty films and
trailers from facilities in Hollywood and London. These
services range from CGI, 2-D compositing and 3-D animation
to film restoration, scanning, and recording. Established
by the Eastman Kodak Company in 1992.
o Dream Quest Images
2635 Park Center Drive
Simi Valley, CA 93065
(805) 581-2671
Contact:
Resumes:
e-mail:
URL:
o Dreamworks SKG
FX Animation
(818) 733-6233 / Fax: (818) 733-6233
o Digiscope
6775 Centinela Ave.
Stage 17
Culver City, CA 90230
(310) 574-5505
Contact:
Resumes:
e-mail:
URL:
Comments: Film scanning, recording, animation, compositing.
o Digital Domain
Contact:
Resumes:
e-mail:
URL: http://www.d2.com/
o EFILM (Electronic Filmworks)
1146 N. Las Palmas Ave.
Hollywood CA 90038
(213) 463-7041 / Fax: (213) 465-7342
Contact: David Hays (Tape to film);
Don Miskowich (Hi Rez Scanning & recording)
Resumes:
e-mail:
URL:
o Encore Visual Effects
6344 Fountain Avenue
Hollywood, CA 90028
(213) 466-7663 / Fax: (213) 467-5539
Contact:
Resumes:
e-mail:
URL:
o FX Factory
Arizona
(520) 623-3175 / Fax:
Contact:
Resumes:
e-mail: jzie...@gnn.com (Jonathan Ziegler)
URL: http://tucson.web.aol.com/users/F/FX/index.htm
Comments: "Special Effects for Film and Television!"
o FX Models
Contact:
Resumes:
email: mdan...@wesleyan.edu (FX Models)
URL:http://www.thenerve2.com/fxmodels
Comments: Our speciality is operational and static miniatures for
movies/productions and sale of submarine kits for
display/operation.
o Hammerhead Productions
San Jose, CA
(408) 286-3376 / fax: (408) 292-2244
Contact:
Resume:
e-mail:Thaddeus Beier <th...@hammerhead.com>
URL:
o Hunter Gratzner Industries, Inc. (HGI)
4107 Redwood Ave
Los Angeles, CA 90066
(310) 578-9929 / Fax: (310) 578-7370
Contact:
Resumes:
e-mail:
URL:
Comments: Miniatures, effects, conceptual design.
o Industrial Light and Magic (ILM)
P.O.Box 2459
San Rafael, CA 94912
(415) 258-2000
Contact:
Resumes:
e-mail:
URL: http://www.lucasarts.com/ (closest you'll get)
o Jim Henson's Creature Shop
2821 Burton Avenue
Burbank, CA 91504
(818) 953-3030 / Fax: (818) 953-3039
Contact:
Resumes:
e-mail:
URL:
Comments: (JHCS also has offices in London.)
o Kleiser-Walczak
Contact:je...@kwcc.com (Jeff Kleiser)
Resumes:
e-mail:
URL:
o Lucas Arts Entertainment
Skywalker Sound North, LucasArts Editing Systems
P.O. Box 10307
San Rafael, CA 94912
(415) 472-3400/444-8240
Contact: Kiki Morris
Resumes:
e-mail:
URL: http://www.thx.com/thx/skywalker/skywalker.html
o Lucas Digital Ltd.
P.O. Box 2459
San Rafael, CA 94912
(415) 258-2000 / Fax: (415) 456-0833
Contact:
Resumes:
e-mail:
o Matte World Digital
24 Digital Drive, Suite 6
Novato, CA 94949
(415) 382-1929 / Fax: x1999
Contact: Krystyna Demkowicz
Resumes:
e-mail:
URL:
Comments: specialize in creating digital matte paintings and
C.G. environments for film and television
o MEL (Makeup & Effects Labs)
7111 Laurel Canyon Blvd
North Hollywood, CA 91605
(818) 982-1483 / Fax: x5712
Contact: Frank H. Isaacs
Resumes:
e-mail:
URL:
o Metrolight Studios
5724 West 3rd St., Suite 400
Los Angeles, CA 90036-3043
(213) 932-0400 / Fax: x8440
Contact: Dobbie Schiff, VP, Executive Producer
Resumes:
e-mail:
URL: http://www.metrolight.com:8000/
o Pixar Animation Studio
1001 W. Cutting Blvd
Richmond, CA 94804
(510) 236-4000 / Fax: (516) 236-0388
Contact:
Resumes:
e-mail
URL http://www.pixar.com.
http://www.toystory.com/
o Pacific Data Images (PDI)
650 N. Bronson, Suite 40010 1111 Karlstad Dr.
Los Angeles, CA 90004 Sunnyvale, CA 94089
(213) 960-4042 / Fax: x4051 (408) 745-6755
Contact: Daniel Chuba Glenn Entis
Resumes:
e-mail:
URL:
o R/Greenberg and Associates (R/GA)
6526 Sunset Blvd.
Hollywood, CA 90028
(213) 957-6868 / Fax: x9577
Contact: Tricia Henry Ashford
Resumes:
e-mail:
URL: http://www.rga.com/
Comments: see NY listing in East Coast, USA section.
o ReZ.n8 Productions
6430 Sunset Blvd., Suite 1000
Hollywood, CA 90028
Contact: Paul Sidlo
Resumes:
e-mail:
URL: http://www.rezn8.com/
o Rhythm & Hues Studios
5404 Jandy Pl.
Los Angeles, CA 90066
(310) 448-7500 / Fax: (310) 448-7600
Contact: Lisa O'Brien, Michael Crapser
Resumes:br...@rhythm.com
e-mail:
URL: http://www.rhythm.com/
o Simulation Special Effects, LLC
1134-J Aster Ave
Sunnyvale, CA, 94086.
(408) 261-0852 / Fax: (408) 261-0851
Contact: Mark Siminoff, owner
Resumes: happily accepted
e-mail: sim...@aol.com
URL:
Comments: mechanical effects, fabrication, model-making, pyrotechnics,
props, stunt-rigging, CAD/CAM design and manufacturing, etc.
o Simulacra
924A North Formosa Ave.
West Hollywood, CA 90046
(213) 874-1703 / Fax: (213) 874-1862
Contact:Lance Hammer
Resumes:
e-mail:de...@simulacra.com
URL:
Comments: computer generated architecture and urban space.
o Sony Pictures Imageworks
10202 West Washington Blvd., TS206
Culver City, CA 90232-3195
Contact:
Resumes: reel & resumes to Robin Thompkins or res...@spimageworks.com
e-mail:
URL: http://spiw.com/cgi-bin/ver/index.html
o Tippett Studios
914 Grayson St.
Berkeley, CA 94710
(510) 649-9711 / Fax: 649-9399
Contact:
Resumes: Fax only.
e-mail:
URL:
o TODD-AO Digital Images
6601 Romaine Street
Hollywood, CA 90038
(213) 962-4141 / Fax: (213) 466-0437
Contact:
Resumes:
e-mail:
URL:
o Sight Effects
321 Hampton Dr., Ste 104
Venice, CA 90291
(301) 392-0999 / Fax: (301) 392-7112
Contact: Melissa Davies
Resumes:
e-mail:
URL:
o VIFX
Los Angeles, CA
(310) 822-8872
Contact:
Resumes:
e-mail:
URL:
o Vision Crew, Unlimited, LLC
5939 Rodeo Road
Los Angeles, CA 90016
(210) 558-0450 / Fax: (210) 558-0437
o Visual Magic Images, Inc.
929 East Second Street, Suite.# 201
Los Angeles, CA 90012
(213) 680-3336 / Fax:
Contact: Joseph Ahn or Regina
Resumes: If you have real production exp. in CGI FX, send demo
reel & resume
e-mail: visu...@ix.netcom.com
Comments: Specializing in motion picture special effects,
digital compositing, and high-end CGI commercial.
They will be moving to new studio in Hollywood.
o Warner Digital Studios
(formerly Warner Bros.Imaging Technology (WBIT))
o Xaos
600 Townsend St., Suite 271E
San Francisco, CA 94103
(415) 558-XAOS / Fax: x9160
Contact: Helene Plotkin
Resumes:
e-mail:
URL:
o XOR Animation Inc.
6671 Sunset Blvd. #1592
Hollywood, CA 90028
(213) 962-3658
Contact:
Resumes:
e-mail:
URL:
--------------------------------------
B. East Coast, USA
o Blue Sky Productions
100 Executive Blvd.
Ossining, NY 10562
(914) 941-5260 / Fax: (914) 923-9058
Contact: Alison Brown <ali...@blueskyprod.com>
Resumes: Andrea Bailey <and...@blueskyprod.com>
e-mail: qu...@blueskyprod.com
URL: http://www.blueskyprod.com [coming mid-March '96]
Comments: High end 3D character animation and visual effects for
television and film.
o CINERIC DIGITAL
321 W. 44th Street, 4th Floor
New York, NY 10036
(212) 586-4822 / Fax:
Contact Dave Schwartz
Resumes:
e-mail:
URL:
Comments:
o Dan Krech Productions (DKP)
(212) 719-0606
Contact: Mark Mirsky
Resumes:
e-mail:
URL: http://www.dkp.com/
(DKP has offices in New York, Toronto, Miami, S.America & Europe.)
o DESIGNefx, a Division of Crawford Communications
Atlanta, Ga.
(800) 831-8027 / Fax:
o Dark Sky Digital
Altamonte Springs, Florida USA
()
Contact:
Resumes:
e-mail: Dann M. Stubbs <d...@magicnet.net>
URL: (ShockWeb Page) http://www.magicnet.net/~dsd/darkskydigital.html
Comments: Computer Animation + Digital Effects
o Fusion Films, Inc.
Miami, Florida
(305)279-5435 / Fax:
Contact: Paul Griswold, Director/Animator
Resumes:
e-mail: Fus...@netcom.com
URL: http://www.ids.net/gamut/fusion1.html
o Personal Effects Inc.
808 W. Lake Street
Chicago, Illinois 60607
(312) 733-7531 / Fax: (313) 733-7517
Contact: Jim Janacek <Jan...@tezcat.com>
Resumes:
e-mail:
URL:
Comments:
o R/Greenberg & Associates
350 West 39th Street
New York, NY 10018
(212) 239-6767 / Fax: (212) 947-3769
Contact:
e-mail:
URL: http://www.rga.com/
Comments: RGA also has west coast offices, as well as sister companies
specializing in print, etc.
o Sinnott
Chicago, Illinois
(312) 440-1875
Contact:
Resumes:
e-mail:
URL: http://sinott-cgi.com/
Comments: animation
o Space Monkey Productions
241 Morewood Ave., Suite 350
Pittsburgh, PA 15213
(412) 682-5529
Contact:
Resumes:
e-mail:
URL:
Comments: animation, CGI.
--------------------------------------
C. Canada
o Buzz Image Group
312 Sherbrooke Street East
Montreal, Canada H2X 1E6
(800) 567-0200 / Fax: (514) 848-6371
Contact:
Resumes:
e-mail: dav...@buzzimage.com
URL:
o Cine-Byte Imaging
130 Spadina Ave., Suite 601
Toronto, ON, M5V224
(416) 504-1010 / Fax: (416) 504-9447
Contact:
Resumes:
e-mail: ci...@2film.com
URL:
o C.O.R.E Digital Productions
157 Princess St. Suite 300
Toronto, Ontario, Canada M5A 4M4
(416) 367-2673 / Fax:
Contact: Ron Estey <r...@COREDP.COM>
Resumes:
e-mail:
URL: http://www.coredp.com/index.html
o Dan Krech Productions Inc. (DKP)
(416) 861-9269
Contact: Steven Lynette / Ted Rogers
Resumes:
e-mail:
URL: http://www.dkp.com
(DKP has offices in New York, Toronto, Miami, S.America & Europe.)
--------------------------------------
E. Europe
o Cinesite (Europe) Limited
9 Carlisle Street
London, U.K. WRV51G
011-44-171-973-4000 / Fax: 011-44-171-973-4040
Contact: See web page.
Resumes: See web page.
e-mail: See web page.
URL: http://www.cinesite.com/
Comments: See description in section A. (West Coast, USA)
o Dan Krech Productions Inc. (DKP)
49-89-29-00140
Contact: Andreas Simon
Resumes:
e-mail:
URL: http://www.dkp.com/
(DKP has offices in New York, Toronto, Miami, S.America & Europe.)
o Digital Arts
P.O. Box 1262
76337 Waldbronn
Germany
01149-0172-721 96 23 / Fax: 01149-07243-65735
Contact: Karsten Schulmann (Creative Director)
Resumes:
e-mail: 10061...@compuserve.com
URL: http://ourworld.compuserve.com/homepages/hawk
Comments: any kind of CGI (compositing, removal, morphing, 3D),
make-up effects (prosthetics, appliances, etc.),
stop-motion, effects concepts, and in the near future
animatronics
o Duboi
France
o Framestore
9 Noel St.
London W1V 4AL
011 (44171) 208 2600 / Fax: 011 (44171) 208 2626
Contact: Drew Jones
Resumes:
e-mail:
URL:
Comments: Digital film effects & computer animation.
o Funcom Productions Int.
Langkaia 1, N-0150
Oslo, Norway
+47 22420102
Contact: Olve Askim <ol...@funcom.com>, Animator and Artist
Resumes:
e-mail:
URL:
Comments:
o Image Factory
46-696-34081 / Fax: 46-696-34082
Contact: Robert Rhodin
Resumes:
e-mail:
URL:
o Jim Henson's Creature Shop
30 Oval Road
London NW1 7DE
0171 428 4000 /Fax: 0171 284 2218
Contact:
Resumes:
e-mail:
URL:
(JHCS also has offices in Burbank, CA)
--------------------------------------
E. Asia
--------------------------------------
F. Australia
o John Cox's Creature Workshop PTY LTD
B16/239 Brisbane Rd.
Labrador, Qld 4215, Australia
61.7.5537.7353 / Fax: 61.7.5537.4235
Contact:
Resumes:
e-mail:
URL:
o Photon Stockman PTY LTD
P.O.Box 81, Oxenford 4210
Queensland, Australia
61.7.5588.6776 / Fax: 61.7.5588.6775
Contact:
Resumes:
e-mail: pho...@mailbox.uq.oz.au
URL:
Comments: Digital and analogue visual effects design and production.
o Robotechnology PTY LTD
B4/239 Brisbane Road
Labrador, QLD 4215, Australia
61.7.5537.7466 / Fax: 61.7.5537.7397
Contact:
Resumes:
e-mail:
URL:
Comments: robotic animation.
--------------------------------------