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6 giorni fa · Though he actually started as a model maker, Knoll embraced digital visual effects early — he’s a co-creator of Photoshop — and coming off the Special Editions, Lucas chose him as visual effects supervisor on The Phantom Menace, along with Dennis Muren and Scott Squires.
3 giorni fa · Industrial Light & Magic ( ILM) is an American motion picture visual effects company that was founded on May 26, 1975 by George Lucas. [8] It is a division of the film production company Lucasfilm, which Lucas founded, and was created when he began production on the original Star Wars, [9] now the fourth episode of the Skywalker Saga .
- May 26, 1975; 48 years ago
- The Walt Disney Company
4 giorni fa · As ILM readied the new Star Wars production, it became clear that not one but three visual effects supervisors (John Knoll, Dennis Muren, and Scott Squires) would be required to oversee the massive number of effects shots, the first movie ever to break 2,000.
5 giorni fa · As ILM readied the new Star Wars production, it became clear that not one but three visual effects supervisors (John Knoll, Dennis Muren, and Scott Squires) would be required to oversee the massive number of effects shots, the first movie ever to break 2,000.
1 giorno fa · The work was so extensive that three visual effects supervisors divided the workload among themselves—John Knoll supervised the on-set production and the podrace and space battle sequences, Dennis Muren supervised the underwater sequence and the ground battle, and Scott Squires, alongside teams assigned for miniature effects and ...
2 giorni fa · Dennis Muren served as the visual effects supervisor on Ghostbusters II. As with his work on Ghostbusters, Reitman had little interest in the technical side of his film. For the sequel, he employed special effects studio Industrial Light & Magic (ILM), giving them a rough outline of the plot and the freedom to do as they wanted.
13 mag 2024 · “I think Terminator 2 was more groundbreaking than Jurassic Park,” says Dennis Muren, visual effects supervisor on – and VFX Oscar winner for – the classic sci-fi movie. “We had to put a lot of things in place for Terminator 2: complex rendering, compositing, and so on. But no one saw it until Jurassic Park.”
