Star Wars Episode III: Revenge of the Sith: Toward a New Hope - Article by Jody Duncan
For Star Wars Episode III: Revenge of the Sith, the final installment in his space saga, George Lucas called upon Industrial Light & Magic to unleash, once again, the full extent of its firepower.
Visual effects supervisors John Knoll and Roger Guyett led the mammoth effort, working with an army of artists - many of them veterans of Episodes I and II - to create a staggering 2,151 shots designed to thrill audiences with exotic, never-before-seen worlds, fanciful new characters and breathtaking space battles.
Q&A: George Lucas - Interview by Jody Duncan
Celebrated filmmaker George Lucas discusses the completion of his Star Wars epic, the state of visual effects and digital filmmaking, and his own personal plans for the future in an exclusive interview with Cinefex editor Jody Duncan.
Sin City: Cool Cars, Hot Women and Hard Bastard Men - Article by Jody Duncan
In Sin City, maverick filmmaker Robert Rodriguez shared directing credit with Frank Miller in a cinematic adaptation of Miller's graphic novels about a dark underworld of crime and retribution.
Determined to match, panel by panel, the stark, high-contrast, future-noir look of his source material, Rodriguez turned to a trio of effects houses - Hybride, The Orphanage and CafeFX - to devise the film's highly stylized, signature look, achieved through a melding of greenscreened live-action and digital environments.
Makeup effects to transform key actors into a host of gritty characters were the work of KNB FX.
Constantine: Highway to Hell - Article by Joe Fordham
To adapt Alan Moore's graphic novel, about a world-weary investigator of supernatural mysteries, to the screen in Constantine, first-time feature director Francis Lawrence relied on veteran visual effects supervisor Michael Fink to oversee an assemblage of effects companies - led by Tippett Studio and ESC Entertainment - tasked with digitally depicting key elements of the film's chilling demonic imagery.
Creature designs and makeups were the work of Stan Winston Studio, while practical interactive effects were created by physical effects supervisor Allen Hall.
The Hitchhiker's Guide to the Galaxy: Mostly Harmless - Article by Joe Fordham
After years as a popular radio and television show, author Douglas Adam's science fiction satire about a bewildered earthling stranded in space following the destruction of his home planet, made the leap to the big screen in The Hitchhiker's Guide to the Galaxy, directed by Garth Jennings.
Favoring in-camera trickery Jennings enlisted Jim Henson's Creature Shop, Bill Pearson and Asylum Models and Effects to handle a host of specialty props, animatronics, miniatures and makeups, while Cinesite was enlisted to produce a variety of strategic digital effects.