BCN-Animation&VisualEffects

@agraphafx @alec_gillis You wrote that article? Awesome! I loved that magazine growing up.

I just found the first VFX method I ever wrote about — and there is @alec_gillis on the cover as well.

@agraphafx Probably done under Larry Butler.

This show, The Flying Nun used many tricks to simulate flight. This one is actually a fairly effective bluescreen composite. Supposedly Columbia Pictures Optical Dept work. #VFXarchaeology

@LucioFulci74 I’ve heard the audio commentary by the director on XTRO is hilarious, because he is completely candid.

『エクストロ』BD鑑賞。 変態の本場・英国が生んだド変態SFホラーの大怪作。 ある日謎の光に包まれ失踪した父親が3年後に異形の姿で帰還。 息子を迎えにいくため、近くにいた女性に一度寄生。人の姿で生まれ直してきて…… と、この時点でもう何言ってるのかわからないが本当にこんな感じ(*´◇｀*)

@agraphafx Letteri (while at ILM), did the frogs raining from the sky in MAGNOLIA. Some of the most convincing CGI that I’ve ever seen.

The VFX for Mission Impossible - Joe Letteri recently talked about the helicopter lighting on the Corridor Crew interview. #VFXarchaeology

@agraphafx Trumbull said that Abel didn’t utilize motion blur and said the shots were done like stop-motion so the movement of the ship wasn’t smooth.

Reported to be Robert Abel and Associates test footage of the Starship Enterprise for Star Trek the Motion Picture. HT forgottentrek.com #VFXarchaeology

@kyabetsumade Is the first John Dykstra actually Jon Erland?

左から ブルース・ニコルソンさん、デニス・ミューレンさん、リチャード・エドランドさん、ジョン・アーランドさん、制作したショーン、ハリソン・エレンショウさん、マーシャ・ルーカスさん、ローズ・ディグナンさん、そしてジョン・ダイクストラさん。 言葉足らずですが本当に伝説の方々です。

@ArcEng9154644 @TheMonologist The scenes with the funeral were probably shot before the scenes with Savalas, and they would have probably had to re-shoot the funeral to be able to add Savalas to it, plus his character wasn’t going to any funeral unless he was getting paid to be there anyway.

@TheMonologist I enjoyed the film, but I think it did a disservice by not letting Telly Savalas ("Perverts!") prance along in slow-motion with James Brolin and Elliott Gould at the end through Arlington National Cemetery.

CAPRICORN ONE (1978)

@h_rk_h_rk I think there are no computers in DUNE because it predicted the RAM shortage we are now facing and the weaponization of the Windows operating system against it’s customers. That was a joke by the way. But still, if you think it’s hard to keep computers running cool on Earth….

映画『デューン 砂の惑星』は 遠い未来の話ですが、 コンピューターが出てきません。 実はこれ、 原作では理由が説明されています。 『砂の惑星』の時代の 約1万年前、 人類とAIの間で 銀河規模の大戦争が起き、 勝利した人類が AI（思考機械）を 全面的に禁止したのです。 このAIとの戦争は 「バトラーの聖戦」と呼ばれます。 デューンの世界で、 最も重要な出来事の１つです。 その結果、 デューンの世界では ・人間コンピューター（メンタート） ・特殊能力を持つ女性の集団（ベネ・ゲセリット） など 人間の能力を極限まで強化した文明 が発展しました。 （続きます）

@jpattueyi “Well, it does now,” I replied as I pressed the button twice.

At my old office, there was a rule nobody could explain. Never press the elevator button twice. Just once. If you pressed it twice, the receptionist would calmly say, “Don’t do that.” No one knew why. Naturally, on my third day, I pressed it twice. Nothing happened. The elevator came, I got in, went to the 7th floor, did my work. Normal day. But when I came down for lunch, the receptionist stopped me. “Did you press the elevator button twice this morning?” I laughed. “Yeah. Why?” She stared at me for a moment, then picked up the phone. “Maintenance? It happened again.” I thought she was joking. Two guys from building maintenance arrived within minutes. One of them asked, “Which floor?” “Lobby,” she said. The man sighed, like someone who had done this too many times. Then he looked at me. “Next time,” he said, “just press it once.” I nodded, confused. They opened the elevator control panel and started checking wires. I shrugged it off. The next morning, I walked into the lobby. The receptionist looked relieved when she saw me. “Good,” she said quietly. “Good what?” “You came back.” I laughed. “Of course I did. I work here.” She didn’t laugh. Instead, she asked: “You didn’t take the elevator again yesterday, right?” “Yeah, around 6 p.m.” Her face went pale. “You shouldn’t have.” My stomach dropped a little. “Why?” She didn’t answer. She just pointed at the elevator. “Look.” Next to the call button was a small brass plaque I had somehow never noticed. It read: “Installed: 1998” Below it was a second line scratched into the metal. “Button malfunction reported: 17 times.” Under that were names. Seventeen names. I recognized one immediately. The guy whose desk I had taken when I joined the company. I looked back at the receptionist. “That’s weird.” She nodded slowly. “Every time someone presses the button twice, the elevator stops on the 7th floor first.” “That’s my floor.” “I know.” A chill ran through me. “So what’s the problem?” She hesitated. Then said quietly: “The problem is… the elevator doesn’t go to the 7th floor.”

@charashanben1 He probably had an apprentice or several doing his day to day stuff, so he probably did. I know Rick Baker assisted Dick Smith. I never knew who assisted John Chambers unless it was Tom Burman.

@BcnAnimation Since it was made a year before Planet of the Apes, John Chambers is a possibility, but I wonder if he had the time to make something like that?

フェイクだとしたら一体誰が造型したんだろう？スチュアートフリーボーンの「2001年宇宙の旅」の猿人メイクの1年前だから、その当時、リックベイカー並みの隠れた才能のあるアーティストが存在していたことになるな。

@31104423yo I wanted to see it because the visual effects were by Industrial Light & Magic.

素材とは言い難い。 黒澤明はあくまでも映像の人だから、見えないモノが嫌いだ。だから放射能が「電力会社の新技術で赤く着色されている」という設定にした。赤い霧のような放射性物質が人類を蝕んでいく。 まあ、これは夢だから細かいことを言うのは野暮。 残念なのは爆発する富士山のビジュアルが

黒澤明のオムニバス映画「夢」に「赤富士」というエピソードがある。 原発が爆発し、放射能が撒き散らされ、富士山まで爆発してしまう！という悪夢の映画化だ。 「渚にて」の忍び寄る放射能や「復活の日」の完全致死性ウィルスは目に見えない。見えないから怖いとも言えるが、視覚に訴える 映画的な

@agraphafx Letteri was first on stage but made no speech last night. Guess he’s letting others have their time in the spot light. Seems like a classy guy.

AVATAR Fire and Ash wins Oscar for Visual Effects. I’ve personally told Joe Letteri that I don’t think he owns anything other than a suit or tux - as that’s all I’ve ever seen him in.

@miumiu333 What year or years was this released? I’m trying to look up more information on it

悪魔くん 第1話「妖怪ガンマー」こちらも2/1 LIVE「ビューティフル・ナイトメア」に向けての視聴スタート。いや、たまらん。白黒だからこその怖さ。ファウストが魔法陣から巨大な手を呼び出すシーンが最高🙌🏻妖怪ガンマーは容赦なく怖すぎる外見で大変良かったです😂子供の頃に見たらトラウマになる。

@NagareR78500 Saw a behind-the-scenes photo from it and was surprised at how large the miniatures of the train were. I never suspected they even used miniatures in this movie.

番外181「#新幹線大爆破」#映画 1975年。ネトフリのじゃないぞ。この名作をよくぞあそこまでしょうもなくできたものだと逆に感心する。 もう何回か書いてるかも。クライムサスペンスだが、犯人役の高倉健の哀愁の漂う演技に引き込まれる。 全てを銀行に差し押えられた工場の社長、沖田が犯行に及ぶ。↓

@Kaibrex I was reading misinformation about Godzilla in books and magazines in the 1970s. People had less access to information or even the ability to see the movies themselves, once they left theaters. The correct information didn’t come out until a few years later.

so your telling me, an official, Toho-approved, Godzilla book used a quote that actually originated as a shitpost on Reddit... and presented it as a legitimate fact? 💀

@anay_quista2 @psychotronica_ Yes. This stop-motion spider monster is pretty cool

@psychotronica_ there is something beautiful but also deeply disturbing about stop motion horror that simply cannot be replicated by cgi of any type i mean, there must be some evolutionary explanation on why this art form is so intrinsically EVIL, and even traumatizing for children 😭

仮面ライダーZO (Kamen Rider ZO) 1993 / Japan / Keita Amemiya 🕸️sound on🕸️

@ko_iti30 Possibly the greatest movie ever made.

宇宙大戦争(1959) 東宝が『地球防衛軍』に続いて制作した侵略SF。 場面はクライマックスのひとつ、侵略者の宇宙船が放つ無重力光線で街並みが宙に浮き破壊されるシーン。 圧搾空気でミニチュアセットを破壊して、重いのは操演で上にあげるというタイミングが大切なシークエンス。 #特撮ショット

@M3S0soic Some of Harryhausen’s finest animation appears in this seqment.

The final collaboration between Ray Harryhausen and Willis O'Brien and it had to be in execrable quasi-documentary The Animal World. The three short scenes of dinosaurs stop motion is worth watching in isolation.

@agraphafx So, was this the beginnings of the “Blue Max” front-projection bluescreen process that was used in LIFEFORCE for the outdoor crowd scenes?