The first part of an extensive look behind-the-scenes of the visual effects process for Lucasfilm’s pirate-themed Star Wars adventure series. By Clayton Sandell (Credit: ILM & Lucasfilm) The sprawling, live-action series Star Wars: Skeleton Crew (2024-25) is like a map leading to a visual effects treasure chest. Open it, and you’ll find a trove of 3,200 visual effects shots that seamlessly blend the latest digital artistry along with traditional techniques that both innovate and honor the unique legacy of Industrial Light & Magic. In creating a new adventure story set in our favorite galaxy far, far away, Skeleton Crew creators and executive producers Jon Watts and Christopher Ford set a delightfully retro tone for the series, which directly informed ILM’s approach to the visual effects. “Very early on, it was apparent that a big part of the intended charm of the show was that it was going to have this sort of Amblin, 80’s movie sort of vibe to it,” Skeleton Crew Pulling it off would involve hundreds of talented artists at ILM studios around the globe, including San Francisco, Sydney, Mumbai, and Vancouver, along with a few outside visual effects partners.  Over eight episodes, Skeleton Crew follows the adventures of Wim (Ravi Cabot-Conyers), Neel (Robert Timothy Smith), Fern (Ryan Kiera Armstrong), and KB (Kyriana Kratter)—four kids living a peaceful, if mundane, life on their home world of At Attin. After discovering a mysterious buried space cruiser, the four friends unintentionally launch themselves into hyperspace and must find their way home by navigating a dangerous galaxy of allies, enemies, pirates, and monsters. Early in preproduction on Skeleton Crew, Knoll says the ILM team had to determine the best way to approach the show’s varied visual effects needs. “It just read like an expensive show because of all of the different planets we go to, all the different types of creatures, and the different environments,” explains Knoll, who also serves as ILM’s executive creative director and senior visual effects supervisor. “Trying to figure out how to make that affordable was one of the first things that faced the visual effects team.” Following a methodology first established during The Mandalorian (2019-2023), Knoll says Skeleton Crew production was divided roughly into thirds. “About one-third of it was shot in our StageCraft LED volume, one-third was shot on soundstages with conventional sets, and then one-third was shot on a backlot,” Knoll reports. Galactic Planet-hopping Skeleton Crew unfolds across multiple worlds that are brand new to Star Wars, beginning with At Attin. The planet’s suburban-like residential neighborhoods utilized a minimal exterior set located near the California State University Dominguez Hills campus in Carson, California. “There was an undeveloped lot that was just adjacent to the campus that was available. So we shot on that,” Knoll says. The practical parts of the set consisted of only the street, a sidewalk, parts of a few houses, and a small patch of grass surrounded by a large blue screen background, says ILM visual effects supervisor Eddie Pasquarello. “We added all the trees, houses, skies, and trams,” Pasquarello reveals. Even the street was narrowed. “Some things are not seen, and those are the ones that are the most impressive in my opinion, because you’re not saying, ‘Oh, that’s visual effects.’ We’re hoping people watch the actors and enjoy the story versus worrying about the environment.”  Wim and Neel board a tram for the ride to school, a sequence that introduces the more urban areas of At Attin. Artists digitally extended the school’s exterior—shot on another minimal set—and helped create an expansive cityscape designed to suggest At Attin’s backstory. “[Jon] Watts wanted it to feel like a place that was built some time ago, but it’s been mostly kept up pretty well. And it’s a place where everyone more or less follows the rules,” says ILM animation supervisor Shawn Kelly. On the ride to school, Wim stares out the tram’s back window as the vehicle drops into an underground tunnel. After the scene was shot, artists were asked to enhance the movement of both the tram and the camera, requiring complex digital layering work to achieve the right perspective. “We had to split apart all the kids inside the bus to get the proper parallax,” Pasquarello explains. “There’s a ton of artists that helped in layout, and comp and environment—all across the board—that made the shot work.” Pasquarello says a number of ILM teams also worked throughout the production to develop the right look for At Attin’s city architecture. “This was a really Herculean effort,” he notes. “This is a huge environment build from the team. But it also takes the disciplines of animation and lighting.” In one shot where a malfunctioning hoverbike leaves Fern and KB stranded on the side of the road, Jon Watts asked ILM to enhance the background with a custom building. “He sent us a photo of a mall,” Pasquarello says. “He said, ‘I kind of want it to look like the mall that I remember as a kid.’ And that’s what that is inspired by. We basically took that photo and ‘Star Wars-ified’ it.” Neel Nation One of the earliest discussions among the Skeleton Crew creative team was how to bring Wim’s best friend Neel to the screen. “Neel was a fun and interesting challenge,” Kelly tells ILM.com, noting that the blue elephant-like character is a three-way creative partnership combining Smith’s voice and performance, the work of performance artist Kacie Borrowman, and extensive digital creativity. “The production was feeling like Neel probably needed to be CG throughout,” Knoll says, explaining that the hours spent applying makeup or prosthetics to Smith would have cut into the child performer’s limited shooting window. “Just seeing how often Neel was going to be on screen—he’s on every other page of every script—he was potentially going to be the most expensive part of the entire show,” recounts Knoll, who set a goal of reducing the all-CG Neel shots by half. “I thought, ‘there’s got to be some practical version of Neel that we can do, at least for over-the-shoulder and wide shots.’” For that mission, ILM turned to Legacy Effects, a frequent collaborator on Star Wars projects including Ahsoka (2023 – present) and Obi-Wan Kenobi (2022). “Neel’s head was built by Legacy as a fully animatronic puppet and was meant to do a lot of the heavy lifting of the performance,” says Pasquarello. Credit: (ILM & Lucasfilm) Neel’s many facial expressions developed from an innovative fusion between the Legacy puppet and considerable digital augmentation. “As they started filming the show, everyone fell in love with how the practical puppet face works,” Kelly recalls. “It’s very charming.” Digital animation took over in scenes where the story called for subtle emotional expressions that were beyond the capability of the puppet, Kelly says, noting that roughly half of Neel’s shots are either digitally augmented or completely CG. “We came up with a bunch of facial expressions,” he explains. “There’s ‘worried.’ We’ve got ‘scared.’ We’ve got ‘sad’ Neel and ‘happy’ Neel, the Neel that we love. Sometimes we just really need to scrunch up his face and we could scrunch it up with or without his ears, things like that.” Even in shots where the practical puppet head was used on-set, artists digitally-erased a small mesh screen on Neel’s trunk that had allowed the performers inside to see and breathe more easily. ILM lead creature modeler Jonathan Sabella also helped digitally sculpt the CG version of Neel to make sure it was identical to the puppet. “That might just be adjusting neck wrinkles or the trunk, and he can shape it back and make it just right or push the emotion even a little further than our out-of-the-box controls could do. Jonathan was a really key part of bringing this together,” says Kelly. During shooting, facial capture technology created by ILM Technoprops was used to record Smith’s performance. “In the end, we didn’t use the facial capture directly,” Kelly says, explaining that Neel’s expressions were instead crafted by animators in order to more closely match the style of the puppet. “We could have gone with a bigger performance,” Pasquarello adds, “but a lot of it was really leaning in and matching the aesthetic that was established. If we were to do something beyond that, it felt wrong because we were losing that kind of simple on-set practical aesthetic, which is a very Star Wars aesthetic. It’s always best to have this mix of different techniques happening at once. It creates the best illusion for the audience. It’s hard to pin down what’s going on if some of it’s real and some of it’s not.” Rise of the Onyx Cinder At the bottom of a forest ravine, the kids discover the entrance to a long-buried, hidden starship called the Onyx Cinder. Wim unwittingly activates the dormant vessel, causing it to lurch skyward with the four kids still on board. As massive layers of soil, rocks and trees cascade off the rising ship, the kids try unsuccessfully to escape. “This was a sequence that went on for a while for us,” says Pasquarello. “Just moving all that earth and lifting that ship and having it turn over was a big challenge.” Live action plates of the four young actors standing on a small set were completed with an entirely digital environment. “The hatch and the four kids. That’s all we had to work with,” Pasquarello remembers. “They were just standing on a small practical piece of the ship, and then everything else was added around them.” Digital doubles were also created for all the characters and used throughout the sequence, especially useful for shots that might have been perilous for the young actors. “Sometimes when they’re hanging out of the open porthole, they’re animated,” Kelly says. “The animated Wim is waving to his dad.” Various simulations—from tree leaves, to swirling embers, dust, and engine vortices kicking up dirt—help complete the sequence. “I think this really shows off the world-class effects team and environment team. I’m just always blown away by this sequence,” says Kelly, noting that many of the forest scenes were created with the help of artists in ILM’s Vancouver studio. Once in space, the kids discover the ship’s first mate, a droid named SM-33 (voiced by Nick Frost). The character was realized using a Bunraku-style puppet (operated by performance artist Rob Ramsdell) and fully-CG versions, depending on the scene. The Onyx Cinder first came to life as a 3D computer model built by Rene Garcia and Jay Machado and textured by Kim Vongbunyong. Veteran ILM modelmaker John Goodson then crafted a practical version that included rotating sections and flickering LED lights in the engines. “It’s very old school. It’s all handmade. There are a handful of model kit parts on it for detail. But even a lot of those are handmade,” Goodson says. “It’s styrene and acrylic with an aluminum armature inside of it.” Modelmaker Dan Patrascu also helped build the Onyx Cinder chassis and mounted motors inside the model. “It gets designed in the art department,” Knoll says. “Then you validate the design, so everybody’s happy with it. John builds his version of it. And then we true up our CG model to match what John did. Something I really liked about the model John built was that the paint finish was beautiful on it. And so that was very extensively photographed and then we re-textured the CG model, based on what John had done.” The practical model was then mounted on a motion-control rig at ILM’s San Francisco studio, reminiscent of the original Dykstraflex system first pioneered during production of Star Wars: A New Hope (1977). “[Executive producer] Jon Favreau was pretty enthusiastic about wanting to do this back for season one of The Mandalorian, and I was one of the few people still left at the company that used to do motion-control,” says Knoll. “And we figured, ‘We can make this work.’ Probably the biggest obstacle was budget. The reason that we don’t do this as often as we used to is that it’s more expensive than computer graphics. And the best way that I could figure out how to make this affordable for the show was if this was being done as a garage operation.” Credit: (ILM & Lucasfilm) Knoll repurposed the motion-control rig he built in his garage for The Mandalorian, adding the capability to drive more motors on the Onyx Cinder. “The system that I built for season one and two of Mando could drive eight motors,” Knoll recalls. “That gave me track, pan, tilt, and focus, and yaw-pitch-roll on the model. That was sufficient for everything we needed to do with the Razor Crest. But all the engines pivot on the Onyx Cinder, so there are four motorized axes built into the ship. Eight axes isn’t enough to drive all of that. So I expanded the electronics to drive 16 channels.” Camera moves were first plotted out in Autodesk Maya, approved by the filmmakers, then translated to the motion-control system with a goal of matching a long-established Star Wars aesthetic. “Our approach for the shots that were going to be a miniature is, first—we animate it in the computer, and we figure out, ‘what’s the best way to tell this story?’” says Shawn Kelly. “’What’s the coolest camera move that still feels like an original trilogy camera move that tells the story and has the mood that we want, and the ship has the motion that we need, in the path that we need?’” The motion-control system was operated by Lindsay Oikawa Pflum and utilized Canon DSLR camera technology. Each shot required a dozen or so passes to capture varieties in exposure and lighting to give compositing teams more options when layering the final image. And in another throwback to ILM’s early days, converters allowed the use of older Nikon lenses that were used to film models for Star Wars: Return of the Jedi (1983). The final result is a flawless collaboration between the real-world model and digital model, all paying homage to ILM’s legacy. First Stop: Starport Borgo The Onyx Cinder docks at a nefarious pirate hideaway, a wretched hive called Starport Borgo where the kids hope to find directions back to At Attin. Built into an Outer Rim asteroid overlooking a sea-blue nebula, Borgo is filled with a host of untrustworthy pirates, creatures, and scoundrels. “It’s just a really beautiful, new place for Star Wars,” says Pasquarello. Port Borgo scenes relied heavily on ILM’s StageCraft LED volume—located at the MBS Media Campus in Southern California. The environment came to life using a combination of practical set pieces along with 3D elements laid out in Unreal Engine and rendered in real-time onto the LED screens. “Creating the content for the volume walls happens nearer to the beginning of our production,” Shawn Kelly says. “There’s a team of generalists, or gen artists, who are talented in a lot of different aspects of computer graphics. And while they are working on the environments, me and a few other people are working on populating those environments.” “Everything outside is CG,” Pasquarello adds. “When we’re inside in Port Borgo, it’s practical. There’s a lot of storytelling in a very small amount of space.”  Wim, Fern, KB, and Neel disembark the Onyx Cinder and hitch a ride on a bubble-like dinghy piloted by a furry Teek ferryman. Dockside, the Teek jumps on Fern’s shoulder to demand payment—a sequence that demonstrates an invisible combination of digital and practical methods. Credit: (ILM & Lucasfilm) “He’s mostly a practical puppet up on her shoulder, but his arm is animated. His arm is CG so we can do more delicate kinds of gestures with his fingers and hands,” explains Kelly, “but we still try to animate it in a way that feels like a puppet.” “We have a great paint team here,” adds Pasquarello. “It was not a big deal to remove that arm and replace it.” Once the Teek gets his money, he jumps down to leave—a shot that features a flawless “Texas Switch” between the practical and fully digital version of the character. “At the beginning, he’s a puppet. And once he goes behind Fern’s back, he’s animated,” Kelly reveals. The shot concludes with the ferryman scurrying away, mimicking the speedy movements of the original Teek that first appeared in Lucasfilm’s TV movie, Ewoks: The Battle for Endor (1985). “He’s this little, very fast-moving kind of funny guy,” says Kelly. “It was really endearing and fun, especially when I was a kid. So we wanted to put a little bit of that fast movement into him. And this is a little example of how we kept that flavor.” Motion Capture Cameos Motion capture performers help populate the expansive setting with hundreds of pirates. “A place like Port Borgo needs to be a bustling port of pirates doing stuff,” says Kelly. “So we spent months at the beginning getting mocap performances and animating on top of those, and also key-framing guys selling stuff at stalls, or shopping at stalls. You’ll see guys in the background unloading a ship, and there’s a chain of guys throwing boxes to each other, stuff like that.” The children pass by a seedy nightclub where four-armed aliens are dancing in reddish silhouette through frosted windows. It was Kelly’s job to direct the scene’s motion capture performers, including two unexpected names: Daniel Kwan and Daniel Scheinert, collectively known as The Daniels. At the time, the directors were helming the fourth episode of Skeleton Crew and would soon win an Academy Award for Best Picture for their film Everything Everywhere All at Once (2022). “The Daniels wanted to perform the dance,” Kelly laughs, recalling how it became his job to direct two of his cinematic heroes on how to be better exotic dancers. “I’d say, ‘I think they want it to be sexier.’ They’d just burst out laughing, and do it again,” Kelly says. “They were really fun and funny.” Credit: (ILM & Lucasfilm) Escape from Port Borgo Reluctantly teaming up with the mysterious Jod Na Nawood (Jude Law), the children escape from the pirate brig and navigate their way back to the Onyx Cinder. As the ship pulls away. it’s snagged by a refueling line connecting it to a floating buoy, snapping it back like a balloon on a string. Jod tries desperately to maneuver away, dragging several pirate vessels with it. “They’re creating havoc,” Pasquarello says. “The whole idea of the pile up and pulling those ships together was a really fun sequence, because even Jon Favreau chimed in. Everyone had some ideas about how to make that really successful.” The colliding ships are all-digital creations, with the action handled by a team of artists who are now part of ILM’s Sydney studio. “All of these ships are CG, and the environment itself as well,” Pasquarello says. “These didn’t exist as models from a practical standpoint.” As the pirates take aim at the Onyx Cinder with a tower cannon, Jod sends the ship into hyperspace. The fuel line snaps violently, whipping back and crashing into the crowded port. “You can see our animated pirates getting knocked down and running away,” Kelly says. Effects passes helped complete the shot with a variety of explosions, fire, and sparks. The pileup sequence also gives eagle-eyed viewers a chance to catch a special Easter egg—a Starspeeder 1000 transport, well known to fans of the Star Tours attraction at the Disney Parks. ILM.com’s behind-the-scenes journey through the creation of Star Wars: Skeleton Crew will continue in part two…. – Clayton Sandell is a Star Wars author and enthusiast, TV storyteller, and a longtime fan of the creative people who keep Industrial Light & Magic and Skywalker Sound on the leading edge of visual effects and sound design. Follow him on Instagram (@claytonsandell) Bluesky (@claytonsandell.com) or X (@Clayton_Sandell).

The new experience for the Meta Quest headset will be introduced to fans at Star Wars Celebration Japan.Industrial Light & Magic and StarWars.com have revealed the newest immersive experience coming to the galaxy far, far awayStar Wars: Beyond Victory A Mixed Reality Playset is currently in development for Meta Quest headsets and takes players into the fast-paced, high stakes life of a podracer. Sporting various modes of play, the experience will be introduced to fans at Star Wars Celebration Japan from April 18-20 at the Makuhari Messe Convention Center near Tokyo. Were beyond excited to share an early look at this new experience with the incredible Star Wars community at Star Wars Celebration this year, says director Jose Perez III. Our goal at ILM has always been to find new and exciting ways for players to experience Star Wars stories. Focusing on mixed reality has opened several fascinating doors from an immersion standpoint and allows us to literally bring a galaxy far, far away right into the comfort of players homes in a way thats unlike anything weve done before.Star Wars: Beyond Victory is the latest initiative in ILMs continued efforts to fully integrate immersive storytelling and interactive experiences across the entire company. Fans attending Star Wars Celebration will find the ILM/Meta activation at Hall 4, Booth #20-5. Along with an introduction to Beyond Victory, they can pick up an exclusive giveaway Marvel comic of the same name. The prequel story to the mixed reality playset is written by Ethan Sacks with cover art (pictured below) by Phil Noto and interior illustrations by Will Sliney, Steven Cummings, and Shogo Aoki.To learn more about Star Wars: Beyond Victory A Mixed Reality Playset, visit StarWars.com, and for the latest about ILMs work in immersive entertainment, visit ILM.com/Immersive.

With ILM as a lead contributor, the Disney+ series took home the award for Outstanding Visual Effects for a Live Action Program at the 3rd Annual Childrens & Family Emmy Awards.Based on the popular books by Rick Riordan, the Disney+ series Percy Jackson and the Olympians earned eight wins on 16 nominations at the 3rd Annual Childrens & Family Emmy Awards in Los Angeles on March 15. Among them was Outstanding Visual Effects for a Live Action Program, for which Industrial Light & Magic was a lead contributor. ILMs Emmy winners include visual effects supervisors Jose Burgos and Jeff White, visual effects producer Katherine Chambers, executive visual effects producer Adele Jones-Venables, virtual production supervisor Sonia Contreras, associate visual effects supervisors Donny Rausch and Daniel Schmid, and associate visual effects producer Shawn Smolensky.Percy Jacksons senior visual effects supervisor Erik Henry accepted the award on behalf of the visual effects team, thanking ILM and other contributing effects houses MPC, Hybride, and Raynault. The 3rd Annual Childrens & Family Awards is available to stream from the National Academy of Television Arts & Sciences.Congratulations to our ILM Emmy winners! Watch the trailer for Percy Jackson and the Olympians:

Industrial Light & Magics immersive entertainment team will be fully integrated with the rest of the company to inspire new innovations in cross-platform storytelling.50 years since its founding, Industrial Light & Magic has never rested on its laurels. A hallmark of ILMs endurance over half a century and counting has been its knack for adapting to change and embracing new creative opportunities. ILM was created by George Lucas because there was no other way for him to realize his vision for Star Wars, senior vice president and general manager Janet Lewin tells ILM.com. From the beginning, our mission has been to make the impossible a reality.The ILM spirit thats evolved over five decades and at studios in as many different countries is motivated by the opportunity for reinvention, evolution, innovation, and resilience, as Lewin puts it. ILMs ability to react and adapt to the changing dynamics of an ever-changing industry has been key. Time and again, ILM has increasingly broadened its creative output. Were known for our work-for-hire visual effects in feature films, says Lewin, but weve also branched out into streaming series, feature animation, and of course, the incredible work that Vicki Dobbs Beck has championed with immersive storytelling.ILM was created by George Lucas because there was no other way for him to realize his vision for Star Wars. From the beginning, our mission has been to make the impossible a reality. -Janet Lewin, Senior Vice President & General Manager, ILMAs vice president of immersive content for ILM and Lucasfilm, Beck co-founded ILMxLAB (later ILM Immersive) some 10 years ago. What was initially a move to experiment with storytelling in the emerging fields of virtual reality, augmented reality, and mixed reality has since yielded broader implications for the way ILM will do business. This opportunity allowed us to participate directly in the success of a project and drive these experiences from concept to launch, delivery, and support, notes Beck.Building on work first pioneered by Lucasfilms Advanced Development Group, the immersive team leveraged the highest quality visuals and sounds combined with meaningful interactive principles to create stories with groundbreaking potential. These have included productions like PGA Innovation Award winner Vader Immortal: A Star Wars VR Series and Emmy-winning What If? An Immersive Story, as well as projects made with creative partners like Alejandro Gonzlez Irritus Academy Award-winning CARNE y ARENA.We see opportunities for social experiences that are associated with our stories, explains Beck. We started by inviting audiences to Step Inside Our Stories in ways theyd thought were impossible. Were now transitioning from storytelling to storyliving, which is a much bigger idea. Youre in a world and youre making meaningful choices that drive the narrative forward. Thats the gateway to take advantage of new technologies that are coming on the scene.ILM is now seizing the moment, as Lewin puts it, to include all of ILM in this undertaking. Immersive storytelling is becoming more and more relevant to our audiences and our partners. On the visual effects side, ILM has been involved in projects like ABBA Voyage a first-of-its-kind and the content we made for Sphere Las Vegas. We started to see that the projects coming out of our immersive line of business had a natural convergence of techniques, talent, and opportunity with those of our visual effects business.Were now transitioning from storytelling to storyliving, which is a much bigger idea. Youre in a world and youre making meaningful choices that drive the narrative forward. Thats the gateway to take advantage of new technologies that are coming on the scene. -Vicki Dobbs Beck, Vice President, Immersive Content, ILM & LucasfilmWe can proactively leverage the strengths of our visual effects artists, pipeline, and storytelling passion with those of our immersive artists who are true experts in interactivity, Lewin continues. We see this storyliving concept as the key growth opportunity. Not only do we want to market ourselves as one brand for audiences and clients, but we also want to empower our artists. This will allow for more cross-pollination of techniques, more opportunities for artists to move between types of projects, whether its an animated feature or our collaboration, What If? An Immersive Story, with Marvel Studios. If we can provide those opportunities, it allows us to keep attracting the very best talent in the industry.With every group now aligned under the ILM brand, the company will pursue an integrated portfolio that includes film, television, attractions, interactive products, and live events. For the immersive team, its a milestone following a decade of concerted effort, and for ILM as a whole, its the newest chapter in the companys pioneering story. We are poised for the next 50 years of ILMs existence, says Beck.ILMs position as a storied entity with a globe-spanning team of artists, designers, and engineers opens up limitless possibilities. The world is our oyster, as Lewin puts it. This is a time for growth and expansion. Im really excited about the ideas that were exploring. This is a moment when we can redefine who ILM is in the market, be more consumer-facing, and continue to be the industry leader. I also love the idea of having more efficiency and refining a better process. These moments allow us to examine the way we work and improve it. We can bring fresh, new ideas to the table.And as Beck describes, this is not only an opportunity to position ILM as the best creative partners and visual storytellers, but also as aspirational leaders who will inspire the next generation of storytellers. This is a way for ILM to drive its destiny in a way that has not been possible in the past. To embrace cross-platform storytelling is what we are uniquely positioned to do. If we can take advantage of that capability and build ecosystems of experiences that cross different types of media, it gives us an incredible canvas to paint on.This is a time for growth and expansion. This is a moment when we can redefine who ILM is in the market, be more consumer-facing, and continue to be the industry leader. -Janet Lewin, Senior Vice President & General Manager, ILMTo discover more about ILMs work in immersive storytelling, visit ILM.com/Immersive. And for all the latest news and stories from the company, visit the ILM.com Newsroom.

For over two decades, Wicked has transported theatre audiences into the untold story behind The Wizard of Oz (1939). Bringing its magic to the screen required a spectacle that not only honoured its Broadway origins but expanded beyond them. Among the many key collaborators in this transformation was Industrial Light & Magics Pablo Helman, production visual effects supervisor. In a recent conversation, Helman shares with ILM.com the challenges and triumphs of adapting this theatrical phenomenon for film, seamlessly blending practical techniques with cutting-edge visual effects to create an enchanting cinematic experience.By Jamie Benning(Credit: Universal)The Musical ChallengeHelman admits that working on Wicked (2024) was an entirely new experience for him compared to his experiences on films like the Star Wars prequels (1999-2005), The Irishman (2019) and The Fabelmans (2022). I think I was ignorant, in that I thought for the last 30 years that my job started with the images and ended with the images, he tells ILM.com. Normally music is something that happens later on. But with this movie, not only is there pre-recorded material but there is live singing. And theres connections that are being made between the actors while they sing. Things that change between them that makes them elicit other reactions. And youre there three feet from the action with the music happening. That translated into how we approached the visual effects. It makes all the difference.But understanding how to integrate those effects meant first understanding director Jon M. Chus vision.Getting into Jon M. Chus HeadHelman is known for his thorough preparation when working with directors, and his collaboration with Jon M. Chu on Wicked was no exception. Its my job to get into the directors head, he says. When I first interviewed with him just to see how we would click, I did a lot of research on him as a filmmaker. How does he use the cameras, camera movement, lighting, sequencing, editingall of it. So we basically had the same language because I kind of cheated a little bit. I made it my business to understand how he goes about his process.He explains that Chus methodology is unique. He has an incredible vision for the movie, and then hes open enough to let the movie happen to him. Sometimes the movie develops in a way that is unexpected, and it grows in a specific way or something happens, and then he says, I never thought of it this way. Look, thats great. We have options.The funny thing about it is that once the project concludes, Helman continues, a little bit of their filmmaking stays with me as a kind of a tool set of things, that once in a while I pull out, and that helps me with something else. Every director is different. Everybody has a different process of understanding the storytelling.Unlike directors who rely heavily on previsualization, Chu prefers a more fluid, organic approach, embracing spontaneity throughout the filmmaking process. He doesnt use pre-vis the way some directors do, Helman says. Wed sit at a table with the heads of department, with Alice Brooks (Director of Photography), Myron Kerstein (Editor), with Nathan Crowley (Production Designer), Paul Corbould (Special Effects Supervisor), Jo McLaren (Stunt Coordinator) with a model of the set for that scene. And then we give him a little stick with a little Elphaba and other characters and he goes in and shows us what the scene is about. And when there is music, he plays the music from his phone. Then he does the movement of the actors with Chris Scott, the choreographer. And so we video those sessions and then we all go away and try to figure out how were going to achieve Jons visionbetween all of us.I did a lot of listening, because I hadnt worked with Jon before, Helman continues And Jon and Alice and Myron kind of grew up together from school, and they have been working together. And so for me to come in, its like, are they going to let me in? And they opened their arms and let me in. And it was a wonderful experience.(Credit: Universal)(Credit: Universal)Building Oz: The Role of Practical Sets and the Practicalities of Shooting a MusicalNathan Crowleys elaborate practical sets played a crucial role in grounding Wickeds fantastical world. Helman reflects on how these sets benefited both the cast and the visual effects team. You want to chase the truth as much as possible, he says. Yes, there were nine million tulips planted, but they were planted a hundred miles from the set. But there are benefits.He elaborates on the process of blending the practical and digital elements. Theres a shot in the beginning, of kids running through the tulips towards Munchkinland, and the matte line is around the kids. You know, after that, its all visual effects. Is it useful? Yes, for the actors, they have something there. But we changed the lighting, added the sun, and completed the tulips in post. The final look is a collaboration.The barley fields posed another challenge. We planted real barley, but during the first take, you couldnt run through itit was too dense. We had to shave it down and then digitally replace everything to maintain the illusion.Helman explains that the scale of the production meant nearly every frame of the film required some level of visual effects intervention. There are 2,200 visual effects shots in the movie. So every shot is a visual effects shot. Because this is a musical, all the actors are wearing really big earpieces that had to be replaced in 3D. There were also mics on their chests.The scale of the sets also dictated when practical elements could give way to digital enhancements. The interior sets go up to 25 feet and the exterior sets go up to 55 feet and then after that we take over as visual effects, says Helman. Special effects were really big too.Paul Corbould and his team built a huge train. But the gears were not moving. So thats where visual effects lends a hand. And the gears under the train are visual effects. And the inside of the train is visual effects because there was a small section built, but not the whole thing.And then the train was very reflective, Helman continues So if the camera follows it, then you have the reflection of all the lights and everything else that had to be recreated and painted out. So yes, there is a combination of reality and not reality. Its a realization that we are creating an illusion, all of us. And we all contribute little by little to that illusion. And then in post, we put it all together and complete it.(Credit: Universal)(Credit: Universal)Striving for Authenticity: Cynthia Erivos Green TransformationHelman and his team explored multiple approaches to achieving Elphabas distinctive green skin, testing a range of methods to determine the best solution. Yes, we did a lot of testing, he recalls. We did different tests of what would happen if we used green makeup, what would happen if she didnt have makeup, but we were there to fix everything that couldnt be done.Ultimately, it was actor Cynthia Erivo herself who made the final decision. Cynthia said, I need to be green. I think I need to be that person, Helman explains. And I know its three hours in the chair, but I need to put in that time to become that character. And it made a difference, I think.Even with practical makeup, the visual effects team played a crucial role in refining the look throughout the film. We still have visual effects in every shot, Helman says, citing the long shooting days, the strain of makeup on Cynthias skin, and even the challenges of contact lenses. She had contacts. And I knew from other experiences like The Irishman that after a while the contacts start moving and the actor starts looking cross-eyed. So we had to fix all kinds of things.Additionally, subtle digital enhancements were required for continuity. The makeup went to the middle of the lip, but not into her mouth, for obvious reasons. So, as I said, we had to adjust every shot, he adds.(Credit: Universal)(Credit: Universal)Flying Monkeys and Magical TransformationsOne of the many visually striking sequences in Wicked is the transformation of the flying monkeys. Helman describes the scene as both challenging and rewarding. Its almost a horror scene. The monkeys are in pain, their wings breaking through their backs. Its unnatural, which adds to the horror, he explains. We used feathers flying around to give a sense of atmosphere and depth. The horror of it had to be mitigated somehow. So there were times when we went too far. There were times when we didnt go far enough. And then we all kind of adjusted.Helman emphasizes the importance of storytelling in visual effects. Theres the fact that these monkeys need to fly away in like four shots. So how do you tell that story in its specifics in four shots? They need to get the wings, try them, and then be either successful or not. And so all that stuff is storytelling. Its part of what we do in visual effects. The animation team led by David Shirk did a great job.(Credit: Universal)Grounded MagicMagic is, of course, central to Wicked, and Helmans team took a deliberately subtle approach to its visualization. The Grimmerie posed unique challenges. It wasnt really thought out when we were shooting, he admits. Most of the time, Cynthia was in front of a blue square, gesturing as directed. But we ultimately made it so that the words became golden, with pages moving. It feels tactile and grounded, not over-the-top. We werent going for that kind of fantastical thing, because its been done before. Even if we were doing a visual effect, it had to look practical.Elphabas imperfect spellcasting in this scene also adds another layer to her character. Due to her inexperience, shes not very good at casting spells. Every time she does, something bad happens, Helman says. Its relatablemagic grounded in imperfection, just like life.(Credit: Universal)(Credit: Universal)Defying Gravity: A Pivotal SequenceThe Defying Gravity sequence is a pivotal scene bridging the two films, requiring a seamless blend of practical stunts and digital effects. Cynthia performed many of her own stunts, including being flown on wires and complex rigs, says Helman Weve seen people flying before. You could just have somebody being wired in and you can say to that person, now youre moving right, now youre moving left, left to right and right to left. But those kinds of things dont work. Cynthia was being flown 200 feet around the blue-screen set, singing! She is really trying to keep herself from the forces that are trying to throw her in different directions. And you can really see that shes doing it. That contributes to the reality of the visual effects work we do.Helman also highlights Elphabas emotional arc in her final scene through the use of light and symbolism. You start from the bottom in the darkness towards the light and you go out on the balcony towards the sun, and then the sun starts coming down throughout that sequence towards the end of the movie. If you have seen the play, you know that at the end of the first act, the cape gets bigger and bigger. So the question is, how do we translate that? Do we do it? Is it going to be laughable? The cape is a visual effect, because we couldnt use a real one due to the wires. Throughout that sequence, everything becomes pictorial. And by the time we get to that shot, basically, its a spiritual, religious picture. The clouds are very Renaissance Italian, with the sun behind them and theres all kinds of volume shadows and volume light coming through. And then all of a sudden you realize, oh my goodness, the cape is huge. What happened? Are you inside her mind, or is that a literal thing? Probably not. And then she does the war cry and the camera pulls back out and you think the movie ends, but she turns around and goes away flying. And then the audience is thinking, wait, wait, where are you going? Then the movie ends to get them ready for part two.But all those kinds of things are not by coincidence, Helman adds Theyre each thought out in terms of structural storytelling, building expectations.(Credit: Universal)(Credit: Universal)The Collaborative SpiritThe scale of Wicked was immense, involving contributions from more than 1,000 visual effects artists across five countries, ILM in San Francisco and Sydney as well as teams at Framestore, OPSIS, Lola, Outpost and TPO. Helman is quick to credit the teamwork behind the films ambitious visual effects. Were working together for three years to make these movies. And so Im really grateful to all of them. Robert Weaver and Anthony Smith were the ILM visual effects supervisors, and David Shirk was the animation supervisor. Great collaboration and lots of fun.Helman is philosophical about the creative challenge. On set sometimes you get into some arguments or differences. Or as Jon calls them, offerings. Sometimes you say, Im offering you this solution, or you can go this way or we can go another way.This cooperative effort was essential on a production as challenging as Wicked. Its 2,200 visual effects shots, but every department played a role in making the world of Wicked believable, Helman explains. He highlights the importance of working closely with Nathan Crowley, Alice Brooks, Paul Corbould, and the rest of the team.Alice, Jon, and I talked a lot about it, Helman says. He describes how lighting played a crucial role in integrating visual effects with the cinematography. The lights were on the set, but we removed them. If you look at a movie that was shot in the 50s, theres a certain look to it, but you have to achieve a certain look from behind the camera. But thats not so anymore. You can put light sources wherever you want. And if youre careful with them, when you remove them, there is no such thing as unjustified lighting.By ensuring that visual effects supported rather than dictated the cinematography, the team was able to create a seamless blend of practical and digital elements.(Credit: Universal)(Credit: Universal)A Lesson in ArtistryFor Helman, Wicked reinforced his philosophy that visual effects shouldnt be impeding anything. Whatever the director wants to do, wherever they want to put the camerathats what were there for, to encourage that kind of storytelling.The grueling 155-day shoot, filmed in continuity across both parts, pushed the cast and crew to their limits. Helman acknowledges the toll such a long production can take: After day 70, its like everybodys done. Its like, elbows are outGet out of my way, why are you looking at me like that? Those kinds of things happen. But despite the fatigue, the shared vision kept the team pushing forward. It is a long project, but its a good thing because it gives you kind of a sense of not worrying about anything else, but what you have in front of you.The audiences response helped reaffirm the purpose behind the work. Its one of those pictures that I had to go to the theater to hear the peoples reactions. I usually dont do that. But this one I did, and it reminded me of why we do what we do, which is to make art that is being shared.Reflecting on the experience, Helman expresses gratitude for the people who made it possible. You can have a great project, great people, or great financial satisfactionif youre lucky, you get two out of three. But the most rewarding part is the collaboration. At the end of the day, its about the people you work with.As Wicked continues to enchant audiences worldwide, Industrial Light & Magics artistry stands as a testament to the power of collaboration and innovation in storytelling.(Credit: Universal)(Credit: Universal)Jamie Benning is a filmmaker, author, podcaster and lifelong fan of sci-fi and fantasy movies. Visit Filmumentaries.com and listen to The Filmumentaries Podcast for twice-monthly interviews with behind-the-scenes artists. Find Jamie on X @jamieswb and as @filmumentaries on Threads, Instagram, Bluesky and Facebook.

The Academy of Motion Picture Arts and Sciences announced the 2025 Academy Award nominations and ILM visual effects teams received two nominations in the Visual Effects category. ILM Visual Effects Supervisor Nelson Sepulveda-Fauser was nominated for his work on Fede lvarezs sci-fi/horror-thriller Alien: Romulus and ILMs Pablo Helman and David Shirk were each nominated for their contributions to Jon M. Chus musical fantasy film Wicked. In addition to its nomination for visual effects, Wicked received nominations in nine other categories.Sepulveda-Fauser said, Working on Alien: Romulus with Fede, a director with such a bold and compelling vision, was an absolute pleasure. I am incredibly proud of the beautiful imagery ILMs Sydney and San Francisco teams brought to the screen. Bringing this project to life has been nothing short of extraordinary.Helman and Shirk were equally effusive in their praise for their teams on Wicked with Shirk noting, Im so excited for our nomination and honored to be part of such an amazing team! I was frequently awed by the artistry and passion of the crew. Its an incredible thrill to see our contribution recognized for a film that is so emotional, and optimistic and has connected so strongly with audiences. Helman added, It was such an incredible experience to be part of the production of Wicked and I feel so honored to be nominated! This film was such a passion project for every member of the cast and crew. Our effects teams around the world put their heart and soul into the work and I couldnt be more proud of the teams effort, it truly defied gravity. The nominated films were selected by the Academys Visual Effects branch based on peer voting at the annual Visual Effects Bake-off event. Of the 10 films invited to participate ILM contributed to half of those in contention including Alien: Romulus, Deadpool & Wolverine, Gladiator II, Twisters, and Wicked. The 97th Oscars will still be held on Sunday, March 2, 2025, at the Dolby Theatre at Ovation Hollywood and will be televised live at 7 p.m. ET/4 p.m. PT on ABC, streamed live on Hulu and air live in more than 200 territories worldwide.

ILM visual effects supervisors are honored in the Special Visual Effects Category.Today, BAFTA announced their 2025 nominees of which two Industrial Light & Magic productions received nominations in the Special Visual Effects category. Gladiator IIWicked were each nominated alongside Better Man, Dune: Part Two, and Kingdom of the Planet of the Apes.Congratulations to production visual effects supervisor Mark BakowskiGladiator II, and to production visual effects supervisor Pablo Helman and ILM visual effects supervisor Anthony Smith for Wicked. And congratulations to everyone at ILM who contributed to these incredible films.The EE BAFTA Film Awards ceremony will be held at the Southbank Centres Royal Festival Hall in central London, and broadcast onClick here for a complete list of the BAFTA nominations.

The ILM Vancouver artist details her globe-trotting career path from special make-up effects to art direction to effects supervision.By Lucas O. SeastromLost Ollie (Credit: Netflix)Ultraman: Rising (Credit: Netflix)For decades, a significant aspect of Industrial Light & Magics company culture has been defined by the atmosphere in dailies. These routine sessions where the effects team reviews work-in-progress and provides feedback are common across the industry, but ILM has always prided itself on its distinct style that encourages open and equal communication. Tania Richard had spent some 15 years working in visual effects before she joined ILM in 2018 as an art director at the Vancouver studio. And as she puts it, ILMs collaborative dynamic really shines in dailies.While working on Space Jam: A New Legacy (2021), Richard was at first surprised when visual effects supervisor Grady Cofer would call on her in dailies, seemingly at random. Grady wouldnt hesitate to call my name out and ask me what I thought about something, even if it wasnt something I was working directly on, Richard explains. He valued everyones opinion, and made you feel part of the overall process. Earlier in my career at other studios, dailies was pretty quiet and you didnt speak up very often. Everyone has their own way of approaching things in dailies, but at ILM its always with the intent of creating a collaborative experience.As ILM has continued its global expansion which now includes studios in Vancouver, London, Sydney, and Mumbai, in addition to its San Francisco headquarters seasoned professionals from across the effects industry have joined the ranks. Each brings their unique experience working on diverse projects and often in many different types of roles. Richard is no different.Growing up in Sarnia on the southern border of Ontario, Canada, Richard had what she describes as a creative upbringing. Both of her parents had their own artistic pursuits, and her mother in particular encouraged Richard and her brother (now a storyboard artist) to make careers out of their passions. Though she aspired to work in filmmaking from her time in high school, Richard chose to study traditional fine art while studying at McMaster University southwest of Toronto. But I was lucky in that the university also had film theory courses, she notes, so I studied film theory as well as fine art.With this unusual blend of disciplines, Richard was able to both learn academic theories and create artworks that attempted to realize them in aesthetic form. She studied sculpture, drawing, print-making, art history, and painting, as well as film theory. Her fascination with the concept of film spectatorship inspired her to focus in painting. There was a film theorist, Laura Mulvey, who talked a lot about the male gaze in spectatorship, Richard explains. I studied her a lot, as well as Cindy Sherman, who would often photograph herself in these film-looking environments and settings. I ended up doing something similar where Id start by creating these film stills, photographing myself dressed up in various situations, and using that as reference for my paintings.To this day, Richard is fascinated by the intersections of artistic craft and theory, in particular the way that filmmakers code their works. It can almost be a language, a communication between the filmmaker and the audience, she says. Somebody like [Andrei] Tarkovsky puts these little codes throughout his filmmaking, whether its sound like dripping water or a cuckoo, or a visual like apples. They were all meaningful to him on a personal level. You see and hear these codes throughout all of his films, and if you were familiar enough with them, it was almost as if he was talking to you in a way, on another level.At ILM, Richard has worked with director Shannon Tindle on both Lost Ollie (2022) and Ultraman: Rising (2024), and she describes the filmmaker along similar lines. Hell reference the same films in his creative process, like Kramer vs. Kramer [1979], for example. He loves that film, and Im aware of that because Ive worked with him long enough and had enough discussions with him to know that when I see something in the way a frame is composed or an animation performance in one of his films, I can understand where his influence is coming from. Its special. It makes you feel like youre connecting with the filmmaker on another level.As she finished her undergraduate studies, Richard jumped into work at Toronto-based FXSMITH, a special effects company founded by innovative makeup designer, Gordon Smith. Initially thinking shed be working on a local television show, Richard soon discovered their teams assignment was the feature film X-Men (2000). Initially, Smith had his new hire drawing concepts for characters requiring prosthetics, and as production commenced, Richard was part of the on-set team creating the extensive make-up for Rebecca Romijn as Mystique.It was a great experience and I had my foot in the door, says Richard. But this was back around 1999, and the transition from practical effects to computer effects was happening. For X-Men, we worked closely with the visual effects team on set because they had to pick up a lot of our work in post-production and refine it. In talking to some of the crew there, they encouraged me to move into visual effects.Concept art by Richard for Mystique (Rebecca Romijn) in X-Men (2000) from 20th Century Studios (Credit: Tania Richard).Richards brother was then studying classical animation at Torontos Sheridan College, a school that had graduated a number of artists later hired by ILM. If the Sheridan opportunity hadnt worked out, I mightve gone for a PhD in film theory, Richard notes. Joining the schools postgraduate visual effects program, her main professor was Richard Cohen, recently returned from a stint at ILM as a CG artist on Terminator 2: Judgment Day (1991) and Death Becomes Her (1992).There were about 12 of us in the class, and Richard [Cohen] felt that rather than having us all isolated and doing our own thing, we should make a short film together, says Richard. If I had not done that, I mightve focused more on the animation side. But on the group project, we leaned into each others strengths, and because I had a painting background, it was clear that I was the concept artist, matte painter, and designer on the team. I did do some animation, but I learned that it wasnt my strength. She adds that although she intended to create traditional matte paintings for their film (ultimately titled The Artist of the Beautiful), Cohen urged her to learn Photoshop and embrace the emerging computer-based tools.As she finished her studies at Sheridan, Richard had already begun professional work, initially as a concept designer for 2003s Blizzard under production designer Tamara Deverell. She then became a digital matte painter at Toybox, a local effects house that was soon acquired by Technicolor. Eventually, a former colleague invited her to come to Sydney, Australia where Animal Logic was developing the animated feature Happy Feet (2006). I was young and up for the big move, so I said yes, Richard comments. That was back when 2 D projections were the thing, so I did a number of those mattes on that feature.During this period, Richard encountered a number of important mentors, among whom was the late visual effects producer Diana Giorgiutti, with whom Richard served as a concept artist on Baz Luhrmanns Australia (2008). We were on location in Darwin and Bowen for something like seven to nine weeks, Richard explains. Di had me working directly with [production designer] Catherine Martin. She had me sitting with editor Dody Dorn for a week. Dody had cut Memento [2000]. We were together early on when she had voice recordings of the actors reading the script and she wanted some images to cut in with them. Id be mocking up frames for her and she explained to me the compositions they needed. She was really generous with her time.Soon, London-based Double Negative came calling, and Richard spent nearly a decade in the United Kingdom working on everything from Harry Potter and the Deathly Hallows: Part 2 (2011) to Interstellar (2014). As visual effects art director on Fantastic Beasts and Where to Find Them (2016), she again found an important mentor in production designer Stuart Craig, whod overseen the visual development of the entire Potter franchise. After creating elevation and sectional drawings for sets, Craig tasked Richard with building digital mock-ups, and together theyd determine the preferred camera angles for which Richard then created detailed concepts.Stuart had worked with set designer Stephanie McMillan for many years, says Richard, and they would often go onto set together and shoot the space in black and white. That helped them analyze the composition before they started adding color and texture, which only came after they were happy with the black and white composition. When I built my models, I rendered them in black and white as well, so I was approaching it instinctively in a similar way. Stuart loved it and helped me understand why it was a good approach. Rather than going full-tilt and adding lots of texture and detail right from the beginning, you start to learn that actually you might never see a particular area because of the way its being lit, or something like that. You learn to focus in an efficient way on where to add that structural detail, where to hit the image with color to have the most impact. It was a brilliant lesson from Stuart.Shooting reference photography for Australia at Kakadu National Park. (Credit: Zam Wimberley).With producer Diana Giorgiutti (Credit: Will Reichelt).Shooting background photography in Scotland for Harry Potter and the Deathly Hallows (Credit: Tania Richard).A return to Animal Logic for 2018s Peter Rabbit was Richards ultimate springboard to ILM. With the opportunity to work closely with director Will Gluck, visual effects supervisor Will Reichelt, and associate visual effects supervisor Matt Middleton (the latter of whom are both with ILM now), she came to realize that effects supervision was her chosen path. Will [Reichelt] had me run lighting dailies and look after the assets while he was busy on set, Richard explains. I was also really involved in the DI process and had a team of artists who I delegated a lot of design work to, so in many ways, it felt like a natural transition.In early 2018, the ILM Art Departments creative director David Nakabayashi and senior producer Jennifer Coronado convinced Richard to make another move, this time back to her native Canada to work at ILMs Vancouver studio. It was a significant decision, as Richard was then considering a move to New Zealand for a brief respite from active work. But the opportunity to join ILM was too important to pass up.ILM was the pinnacle, Richard says frankly. For anybody who is around my age and grew up with Star Wars, you see ILM as the height of where you want to be in the industry. But I wasnt sure I had what it took to be a part of the company, so it was a surprise when they reached out. I barely took any time off between working on Peter Rabbit and coming to ILM.Initially working as an art director, Richard describes her first impressions of ILM as overwhelming, exciting, and different. After assisting Vancouvers creative director Jeff White on some initial project bids, she was soon working on Disneys Aladdin (2019). The ILM Art Department is incredibly talented and is really the best of the best, Richard notes. Theres so much you can learn from them. She continued as an art director on Space Jam: A New Legacy, for which ILM was responsible for integrating the classic Warner Brothers animated characters with live action footage.There was a lot of artwork created at the beginning of Space Jam, Richard explains. The spirit of it evolved quite a lot over the course of the show. I had a wonderful team, and I really loved working on Bugs Bunny! [laughs] Grady Cofer had me doing paint-overs on some of the characters, which I really enjoyed. The whole team was involved in refining the final looks of each character, including the textures crew, the groom artists, the modeling team, and the animators. Im always blown away when I see animation come through.It was after Space Jam that Richard made the transition to associate visual effects supervisor on Lost Ollie. Im a bit like the righthand person or wingman for the visual effects supervisor, she elaborates. We work very closely with production and our department leads and supes to help establish looks, refine shots, and execute what needs to be done in post to maintain a certain level of quality and consistency. I had been slowly navigating into an effects supervisor-type role for a while, but I wasnt sure if I had all the skillsets to be able to do it. I talked to Jenn and Nak about it, and they were very supportive and helped to guide me into this position along with Jeff White and [executive in charge] Spencer Kent.Lost Ollie (Credit: Netflix).I think I just got really lucky, Richard continues. I believe that Jeff had Ultraman in mind for me, but it wasnt quite ready yet. [Visual effects supervisor] Hayden [Jones] and [visual effects executive producer] Stefan [Drury] were working with Shannon Tindle on Lost Ollie, so I had a chance to establish a relationship with the same client. I think thats why they thought it might be a good starting point for me. It was a smaller project, and I love the hybrid between live action and CG characters. Its probably what Im best at and what I love to do the most. I ended up diving in heavily on two episodes, and then I stayed in the background on the final two because that was when I started transitioning to Ultraman: Rising.The move into supervision has allowed Richard to focus more on refining her approach to communication and collaboration between the artists and the clients. On Ultraman, Hayden was great at encouraging the team to ask questions and offer up suggestions with Shannon, she notes. Whats great about Shannon is that he creates an environment where its okay to suggest something that might not ultimately be the right idea, but its great to put it out there and see if it works. [ILM executive creative director] John Knoll is very similar. He embraces that exploration and isnt afraid to try something.Richard emphasizes that part of being a supervisor is having an ability to read the room and understand the personalities of the artists and how they like to communicate. And as an artist herself, Richard brings her own unique blend of experiences. Ive been lucky to have had a toe in the practical side of things very early on. Ive also worked with some really talented people who come from an earlier generation of filmmakers. I hope that some of that knowledge translates in my communication with the artists. Both Grady and Hayden like to do quick paint-overs on things in dailies, and thats something I like to do as well. If words dont quite explain something, sometimes a quick drawing or paint-over can act as a visual reference. Many supes like to do that.As so many have attested, its the people that have truly made the difference at ILM in its 50 years of storytelling. Have curiosity about the people youre working with, Richard says, and have empathy for them. Try to understand where your colleagues may be at a certain point in time. You can use that to develop relationships throughout your career, which is so important.Ultraman: Rising (Credit: Netflix).Read more about Richards work on Ultraman: Rising here on ILM.com.Lucas O. Seastrom is the editor of ILM.com and a contributing writer & historian for Lucasfilm.

ILM teams from around the world earn recognition for projects as diverse as Wicked, Gladiator II, Ultraman: Rising, Deadpool & Wolverine, and What If? An Immersive Story.Today, the Visual Effects Society announced their nominations for the 23rd Annual VES Awards, recognizing visual effects artistry and innovation in features, animation, television, commercials, games, and new media. Both ILM and ILM Immersive received 19 nominations in total.Nominations in the overall film and television categories include Outstanding Visual Effects In A Photoreal Feature for Twisters, Outstanding Visual Effects In an Animated Feature for Transformers One and Ultraman: Rising, and Outstanding Visual Effects In A Photoreal Episode for Star Wars: Skeleton Crew and The Lord of the Rings: The Rings of Power (Season 2).In the Outstanding Visual Effects in a Real-Time Project category, ILM Immersive received a nomination for What If? An Immersive StoryD23 Real-Time Rocket.ILM has received nominations in many other categories including Outstanding Environment in a Photoreal Feature for Rome in Gladiator II and the Emerald City in Wicked, as well as Outstanding Environment in an Animated Feature for Transformers Ones Iacon City. Alien: Romulus, Deadpool & Wolverine, and Gladiator II have each picked up nominations for Outstanding Model in a Photoreal or Animated Project, while Venom: The Last Dance joins Twisters with nominations for Outstanding Effects Simulations in a Photoreal Feature.A complete list of all of the VES nominations may be viewed at this link. The VES Awards will be held on February 11, 2025, at The Beverly Hilton Hotel in Los Angeles. Congratulations to our ILM and ILM Immersive teams!