Industrial Light & Magic: Difference between revisions

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==Creation==

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After [[George Lucas]] made the hit movie [[Wikipedia:American Graffiti|”American Graffiti”]], he worked on a space opera he called ”The Star Wars”, which was then purchased by [[20th Century Studios|20th Century Fox]]. Lucas intended to create special effects that had never been done before.{{SWArchive|url=themovies/saga/19990715news.html|text=Industrial Light & Magic: History~~|date=1999-07-15~~}} However, Fox’s in-house special effects department had been shut down because of costs and the public’s interest in more realistic looking films. Lucas then decided to create his own effects company. His first choice was Douglas Trumbull, responsible for the photographical effects in ”2001: A Space Odyssey”. As Trumbull was doing [[Steven Spielberg]]’s ”Close Encounters of the Third Kind”, he instead recommended Lucas his assistant, [[John Dykstra]]. Dykstra then assembled a crew of 75 college students, artists and engineers. Lucas himself bought old equipment for pennies on the dollar.

After [[George Lucas]] made the hit movie [[Wikipedia:American Graffiti|”American Graffiti”]], he worked on a space opera he called ”The Star Wars”, which was then purchased by [[20th Century Studios|20th Century Fox]]. Lucas intended to create special effects that had never been done before.{{SWArchive|url=themovies/saga/19990715news.html|text=Industrial Light & Magic: History}} However, Fox’s in-house special effects department had been shut down because of costs and the public’s interest in more realistic looking films. Lucas then decided to create his own effects company. His first choice was Douglas Trumbull, responsible for the photographical effects in ”2001: A Space Odyssey”. As Trumbull was doing [[Steven Spielberg]]’s ”Close Encounters of the Third Kind”, he instead recommended Lucas his assistant, [[John Dykstra]]. Dykstra then assembled a crew of 75 college students, artists and engineers. Lucas himself bought old equipment for pennies on the dollar.

[[Gary Kurtz]] bough to crew to work on a warehouse in Van Nuys, California. Looking for a name that would disguise the warehouse’s function and suggest it was simply in the business of wholesaling electronic components rather than making movies, Lucas came up with Industrial Light and Magic. In May of 1975, the company was born.{{YouTube|video=aeIXcIwJ-Zo|text=Interviewing Return of the Jedi Lucasfilm VFX Editor Bill Kimberlin – Rule of Two|channel=Star Wars Theory|channelname=@StarWarsTheory|archivedate=20230404152625}}

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In 2005, Industrial Light and Magic moved from [[wikipedia:Kerner Optical|Kerner Optical]] to [[wikipedia:Presidio of San Francisco|the Presidio of San Francisco]].

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There, the company worked in the same place with engineers of [[LucasArts]] during the development of ”[[Star Wars: The Force Unleashed]]”. The two teams worked closely and LucasArts built “Zed”, a game editor that used Zeno’s toolset, and integrated their technologies into a single tool pipeline. ILM’s face- and motion-capture “CloneCam” technology (previously used for the ”[[Wikipedia:Pirates of the Caribbean (film series)|Pirates of the Caribbean]]” movies) recorded actors’ voice and physical performances for the game characters.{{WebCite|url=http://tech.uk.msn.com/gaming/article.aspx?cp-documentid=9092634|text=The technology of The Force Unleashed|date=2008-08-01|work=tech & gadgets|archivedate=20080826070412|url-status=dead}}{{SWArchive|url=gaming/videogames/news/f20070918/index.html|text=Casting and Capturing Captivating Performances|author=W. Haden Blackman~~|date=2007-09-17|archivedate=20080825014457~~}}

[[File:ILMold.svg|thumb|left|200px|Older logo]]

In 2010, ILM allowed the show [[Wikipedia:The Amazing Race|”The Amazing Race”]] to film at their complex. They set up a challenge for the contestants on the show, which involved the characters of [[Ponds]], [[Cody]], and [[Padmé Amidala]] from [[Star Wars: The Clone Wars|”The Clone Wars”]].

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*”[[Creating the Worlds of Star Wars: 365 Days]]”

*{{Hyperspace|url=hyperspace/member/galactic/2006/04/galactic20060412.html|text=Night Crew}}

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*{{Blog|pablog|111|One S, One word, No Capital F~~|Fragments from the Mind’s Eye|Pablo Hidalgo~~}}

*{{Blog|pablog|111|One S, One word, No Capital F}}

*”[[The Art and Making of Star Wars: The Old Republic]]”

*[[The Making of Star Wars: The Definitive Story Behind the Original Film|”The Making of Star Wars”]]

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*{{InsiderCite|152|Cowboy Jedi}}

*{{InsiderCite|152|A Trip to the Light Side}}

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*{{InsiderCite|152|Blaster (Star Wars Insider)~~|Blaster~~}}

*{{InsiderCite|152|Blaster (Star Wars Insider)}}

*”[[Solo: A Star Wars Story The Official Guide]]”

*{{BuildXWingCite|1|Creating a Starship Fleet|Ralph McQuarrie – The Man Who Drew Star Wars}}

“The feeling around about the place was that now we were established, that we had a life of our own, so to speak. Instead of thinking we were hired for Empire and would never, ever do another job up there, there was a sense of excitement. And there was a real trust placed in all of us, too, by George [Lucas] and the other filmmakers who would come in. We were allowed to have authorship on our work. We were there because we actually brought something to the work. We weren’t just middlemen handing jobs off to a zillion other people. And we were there because our work was appreciated. We loved our crews. We gave them as much authorship as we could. We had our voice and then we were representing the director. And it was a very clean way to work.“

―Ken Ralston^[2]

Industrial Light & Magic (ILM) is the visual effects company responsible for much of the visual effects in the Star Wars films. It was founded by George Lucas in 1975, as part of Lucasfilm. ILM has also created the visual effects for over 300 other films, including the Star Trek films, the Indiana Jones franchise, the Back to the Future trilogy, the Jurassic Park series, the Harry Potter series, the Pirates of the Caribbean series, many films in the Marvel Cinematic Universe, the 2011 animated film Rango, the 2011 live-action film Super 8, and the 2018 film Ready Player One.

Creation[]

ILMATST-SWFB — ILM with a model of an AT-ST

After George Lucas made the hit movie American Graffiti, he worked on a space opera he called The Star Wars, which was then purchased by 20th Century Fox. Lucas intended to create special effects that had never been done before.^[3] However, Fox’s in-house special effects department had been shut down because of costs and the public’s interest in more realistic looking films. Lucas then decided to create his own effects company. His first choice was Douglas Trumbull, responsible for the photographical effects in 2001: A Space Odyssey. As Trumbull was doing Steven Spielberg‘s Close Encounters of the Third Kind, he instead recommended Lucas his assistant, John Dykstra. Dykstra then assembled a crew of 75 college students, artists and engineers. Lucas himself bought old equipment for pennies on the dollar.

Gary Kurtz bough to crew to work on a warehouse in Van Nuys, California. Looking for a name that would disguise the warehouse’s function and suggest it was simply in the business of wholesaling electronic components rather than making movies, Lucas came up with Industrial Light and Magic. In May of 1975, the company was born.^[4]

Star Wars work[]

OriginalILMlogoStruzan-MOTESB — The original ILM logo, designed by Drew Struzan

ILM’s first film was Star Wars (called The Star Wars at first). Many at the recently founded company (then jokingly nicknamed “The Country Club”) were not sure the new groundbreaking special effects would ever work. The working environment was chaotic and unorthodox: when Fox executives visited the crew to see their progress, one of the employees was wearing a fish-head mask, the artists used an improvised slide to plunge into a swimming pool built in a container, and Dykstra threw a refrigerator from the warehouse’s roof “because we wanted to know how it would sound.” The artists spent their days smoking marijuana and trying to find relief from the hot environment in bathtubs. Most of the $1 million Lucas lent to the company was spent on equipment, such as miniatures and the Dykstraflex motion control camera — a technology later crucial for scenes such as the Battle of Yavin.

When Lucas returned to California after ending principal photography, ILM was in worse shape than ever before. Except for the escape pod being released from Tantive IV, Lucas found all the completed visual effects to be unsalvageable. Adding this to the troublesome shooting, most doubted Star Wars would ever reach theaters, and Fox nearly terminated production. Lucas decided to take direct control of the company, supervising the effects work daily. The battle scenes were mostly directly copied from dogfights taken from World War II movies such as Tora! Tora! Tora! which Lucas used as reference.

The physical starship models of the original trilogy were made to emulate the esthetics of World War II, with their sections riveted together; the method was called “boilerplate technology” by the company’s model shop.^[5]

Lucas also brought in some third parties to complete visual effects, such as Dan O’Bannon, Rick Baker and Phil Tippett.^[6]^[7]

Once the film was completed, most of the crew at ILM decided to stay, but Dykstra brought some of the artists to form his own company, called Apogee.

Although ILM primarily worked on Star Wars projects, they also had a hand in some Star Trek projects, including Star Trek II: Wrath of Khan. Mark Hamill, upon discovering this during production of Return of the Jedi, jokingly referred to them as traitors, with Lucas stating that it was a business.^[8]

Through the mid-1980s, ILM began to change the entire special effects industry forever by experimenting with Computer Graphics. after the success with Tron, Lucas became interested with computers and saw the potential of the new revolutionary machine. Lucas hired Ed Catmill, a PHD student, whom he would bring more computer scientists, technologists, etc. into the visual effects department. along with Catmill’s early advancements in computer technology, was the ability to create smooth surfaces and wrap textures around them. this was a pioneering leap in the rudimentary world of computer graphics, known simply as CG.^[9]^[10]^[11] ILM created the OpenEXR format for high-dynamic-range imaging.^[12]

In the ’90s ILM’s work was mostly based on Softimage 3D, but the company conceived the development of a “virtual studio” of their own proprietary technology, that would allow the inhouse programmers to update and modify it according to the company’s needs. They began developing “Zeno” as a foundation of modular tool-building. Zeno saw first limited use in 2000 and 2003, demonstrating its use not only in animation but also rigid-body dynamics and match moving.^[13]

For Star Wars: Episode I The Phantom Menace, the visual effects team used a series of character animation tools and lip-sync refence materials to infuse new digital characters with dead-on accurate dialogue, and dynamic physical behaviors. the film was shot completely on high-definition cameras.

For the first time, Yoda was going to appear in Star Wars: Episode I The Phantom Menace digitally. Artist Jean Bolte used the Original Trilogy as reference material and focused on getting Yoda’s expression right. The Yoda puppet was brought in for the actors to perform with, then, they replace the puppet with their CGI Yoda for the films.

In 2002, ILM and Skywalker Sound produced the cinematics for the LucasArts video game Star Wars: Bounty Hunter.^[13]

By 2004, Zeno had developed enough allowing ILM to replace its old toolset and pipeline and use Zeno with Autodesk Maya and Photoshop. Star Wars: Episode III Revenge of the Sith took advantage of this new framework (before it, Spielburg’s War of the Worlds was the first film to do so).^[13]

ILM has one of the largest render farms (named Death Star). It is a cluster computer originally built by SGI. Since then, it has been converted into a Linux system built by RackSaver (now Verari Systems) with AMD processors.^[14] The system originally had 1,500 processors in 750 nodes, this figure was doubled for Star Wars: Episode III Revenge of the Sith. ILM tends to be quiet about their supercomputer, so its current configuration is not known.

In 2005, Industrial Light and Magic moved from Kerner Optical to the Presidio of San Francisco.
There, the company worked in the same place with engineers of LucasArts during the development of Star Wars: The Force Unleashed. The two teams worked closely and LucasArts built “Zed”, a game editor that used Zeno’s toolset, and integrated their technologies into a single tool pipeline.^[13] ILM’s face- and motion-capture “CloneCam” technology (previously used for the Pirates of the Caribbean movies) recorded actors’ voice and physical performances for the game characters.^[15]^[16]

In 2010, ILM allowed the show The Amazing Race to film at their complex. They set up a challenge for the contestants on the show, which involved the characters of Ponds, Cody, and Padmé Amidala from The Clone Wars.

In October 2012, Disney bought ILM’s parent company, Lucasfilm, acquiring ILM in the process.^[17]^[18]^[19]^[20]

ILM TV, launched in 2018, is a branch of ILM that focuses on episodic and streaming television. It collaborates with the ILM Experience Lab, and worked on the live action Star Wars series The Mandalorian. Aside from The Mandalorian, it will also help create the second season of Krypton on SyFy. Their headquarters is located at ILM’s London studio.^[21]

in 2019, ILM introduced StageCraft.^[22]^[23] Also known as “The Volume”, it uses high-definition LED video walls to generate virtual sceneries, all of this was done using the graphically impressive video game engine; Unreal Engine 5. it was first used in The Mandalorian (2019-present).^[24]^[25]