Industrial Light & Magic - Donjons & Dragons, Fast X, Killers of the Flower Moon, Napoléon...

J'ai pas dis que c'était impossible ou irréaliste attention.

Mais quand meme c'est nous prendre pour les derniers des cons quand meme, investir deux fois des millions et des millions en recherche, dévelopements, infrastructures, divertissement, confinement et sécurité au plus haut niveau ( ou presque )etc.
Dans le premier film on t'explique que c'est sans doute le parc le plus révolutionnaire et le plus incroyable au monde. Sur une bombe a retardement !
"Oh mais il sommeillait seulement on pensait que ça allait etre safe nous, après tout y a des volcans partout dans le monde ..."

p*tain mais on parle d'une ile avec des dinos en cages, la prochaine fois construisez dans la bande de Gaza aussi pourquoi pas ? Et faites nous Jurassic World 4 autour de ça après tout y aura du badaboum et des dinos ça devrait vendre sur le papier non ?

Petite mise à jour concernant ILM.

Voici la liste des films non Disney sortis en 2018 sur lesquels le studio a travaillé :
Horse Soldiers (Warner Bros.)
The Cloverfield Paradox (Paramount)
Ready Player One (Warner Bros.)
Sans un Bruit (Paramount)
Jurassic World : Fallen Kingdom (Universal)
Skyscraper (Universal)
Monsters and Men (MoviePass Films)
De l'Autre Côté du Vent (Netflix)
Overlord (Paramount)
Aquaman (Warner Bros.)
Bird Box (Netflix)
Bumblebee (Paramount)

On notera une présence accrue de Warner Bros. et de Paramount, ainsi que l'arrivée de Netflix qui n'hésite pas à faire appel aux services du studio.
Notons également que ILM a créé ILM TV cette année pour travailler sur des projets télévisés, les premiers étant la saison 2 de Krypton (Warner Bros.) et The Mandalorian (série Star Wars pour Disney+).

Les projets de films non Disney 2019 déjà annoncés : Us et 6 Underground.
Chez Disney, on attend comme d'habitude les films Marvel Studios (Captain Marvel, Avengers : Endgame, Spider-Man : Far From Home) mais également Aladdin.

Pour 2020, Jungle Cruise est déjà annoncé.

https://www.ilm.com/in-production/

ILM est nommé trois fois aux Oscars dans la catégorie Meilleurs effets visuels pour les films suivants :
Ready Player One
Avengers : Infinity War
Solo : A Star Wars Story

À noter que le film Us, de Jordan Peele, est actuellement en salles.

Vu hier et je ne me remets toujours pas de la fin !

Lupita Nyong'O est excellente !

Je suis extremement mitigé moins.

Je trouve le film extremement "cafouilleux" et fortement réduis du génie de Get out. Ici on a pas droit a de l'évidence et a une pertinence aussi prodigieuse et foutrement malsaine que Get out. Les idées sont là, mais constamment en manque de travail, on ne transforme aucun aspect pour le rendre intéressant mais pire encore ça manque de logique car le film prend le risque de tout imager, mais de ne quasi rien raconter.

Pour comprendre tout cela il faudrait spoiler et ça serait long. Mais a part tout ramener à du sociétal, a du réalisme de notre monde tout cela sans cesse débordant d'une horreur parfois grotesque, sans le moindre sens et bien trop répétitif dans la forme pour que ça devienne réellement flippant ou artistique ... Non.
Ici les parallèles sont trop nombreux pour se recouper, le film est trop avare et à la fois trop généreux pour savoir ce qu'il fait. De l'horreur ce n'est pas le chef d'oeuvre de Get out. De la réflexion c'est bien trop tordu et imparfait pour perturber le spectateur.
Acteurs bons ... ça ok. Mais scénar tiré par les cheveux, jamais concluant et précis pour etre savourer. A croire que tout ce qu'il se passe dans le film est fait pour aller avec le twist final qui là aussi ne s'efforce pas énormément à nous foutre sur le cul. C'est un cafouillage, on se pose plein de question mais pas les bonnes. Le ciseau, les lapins, les tuniques rouge, les doubles, cet escalator, ce sous sol de vie humaine reliées.

On se croitait dans la 4 eme dimension, et c'est fortement voulu. Mais c'est bien trop le joyeux bordel des idées sans aucune base, oh oui le film les collectionne, et bien hormis un musée de l'étrange on ne retire quasi rien de bien fais dans ce film. C'est loufoque, glauque ( et pourtant pas assez ), assez bidon, et trop riche sans pour autant donner. La trame est rapide et peu évolutive mais le film dure deux heures, alors bonjour les longueurs. Comme une épisode 4 eme dimension, il aurait fallu un moyen métrage et c'est tout !

Enorme partage d'avis en perspéctive, mais l'unanimité Get out n'est plus là. Les risques inutiles sont trop nombreux et nous perdent. L'idée d'un film d'horreur de société est recouvert par tout un tas de conclusion et de renversements incohérents ou à coté de la plaque. Bien moins de chance de jouer la carte de l'efficacité revigorante dans ce contexte.

Après San Francisco, Vancouver, Singapour et Londres, Lucasfilm a annoncé l'ouverture prochaine à Sydney de son cinquième studio d'effets visuels Industrial Light & Magic.

Celui-ci est déjà mentionné sur le site officiel et emploiera plus de cinq cents personnes.

Le premier film sur lequel travaillera le studio australien sera Star Wars : L'Ascension de Skywalker

Citation :

Industrial Light & Magic (ILM), the visual effects division of Lucasfilm Ltd., announced today that the company would be expanding its global footprint to Australia. The studio is opening a new studio in Sydney to better serve its clients and complement its current operations in San Francisco, where the company is headquartered, Singapore, Vancouver, and London.

“Sydney is an ideal location for our fifth studio,” noted Rob Bredow, Executive Creative Director and Head of ILM, adding, “there is abundant artistic and technical talent in the region which are both keys to ILM’s culture of innovation. It’s particularly exciting that the first film our new studio will contribute to will be Star Wars: The Rise of Skywalker.”

Gretchen Libby, ILM VP of Production said, “We are always looking for ways to enhance our offering to clients and the Australian Federal PDV Offset coupled with the new NSW PDV rebate is sure to attract significant interest from filmmakers around the world. Our studio in Sydney will allow us to offer that opportunity while providing the quality effects work that is synonymous with Industrial Light & Magic.”

“It’s an amazing opportunity for local Australian talent to join established ILM staff from around the globe and collaborate on high-end animation and visual effects,” noted Luke Hetherington who will expand his responsibilities to serve as the studio’s Executive in Charge. “At ILM they can do so while working on the kind of projects that inspired so many of us to start out in this industry, like Star Wars, Avengers, Jurassic Park, and many more.”

ILM’s Sydney studio joins the company’s global studios in offering award-winning visual effects and animation and the artistry and creative problem solving that the company has become known for. The studio will work on projects including feature films, television, immersive entertainment and themed attractions.

Citation :

Star Wars comes to Sydney as ILM commits to permanent studio

More than 500 local jobs will be created when Disney-owned visual effects company Industrial Light & Magic (ILM) sets up a new studio in Sydney, establishing NSW as a global destination for post, digital and visual effects (PDV).

Premier Gladys Berejiklian joined Executive Creative Director and Head of ILM Rob Bredow and ILM Executive Luke Hetherington at Fox Studios Australia today to make the announcement.

Ms Berejiklian said ILM’s decision to choose NSW as its Australian base is a big win for the State.

“ILM is responsible for the visual effects of more than 350 feature films, including Star Wars, Aladdin, Pirates of the Caribbean and The Avengers,” Ms Berejiklian said.

“Having the world’s leading visual effects company now agreeing to set up here permanently and commit to teaching invaluable skills to hundreds of people in NSW is a big coup for our State. This is only the third studio ILM has opened outside of North America.

“The digital skills taught by the best in the world will also benefit many other industries in NSW, including software development, robotics, engineering and defence.”

Mr Bredow and Mr Hetherington confirmed that recruitment will begin immediately to complete post, digital and visual effects for Star Wars: The Rise of Skywalker.

Mr Bredow said Sydneyis an ideal location for ILM’s fifth studio.

“There is abundant artistic and technical talent in the region which are both keys to ILM’s culture of innovation. It’s particularly exciting that the first film our new studio will contribute to will be Star Wars: The Rise of Skywalker,” Mr Bredow said.

The announcement follows the NSW Government’s recent move to offer a 10 per cent tax incentive for PDV firms investing over $500,000 in NSW. This is on top of Federal incentives, making NSW an even more attractive location for film production.

The new incentive brings NSW in line with global locations such as the US, UK and Canada, in addition to competing States.

As part of today’s announcement, the NSW Government will also provide a $6 million contribution which will be matched by ILM to establish training programs to build specialised PDV skills for local workers.

Minister for Jobs and Investment Stuart Ayres said PDV is a $15 billion global industry and one that offers highly skilled jobs for NSW.

“We have a shortage of skilled PDV workers in NSW and today’s announcement will help us attract crew who have relocated, as well as drive new teams that will go through ILM’s exciting JEDI Academy program amongst other learning opportunities,” Mr Ayres said.

Minister for the Arts Don Harwin welcomed ILM to Sydney and said he was excited about all of the opportunities that this will open up for NSW.

“Securing ILM’s setup in Sydney will deliver an estimated $333 million in post-production business in the first five years and an expected $100 million each year after,” Mr Harwin said. “We are thrilled to be the home of their new studio.”

Mr Hetherington will see his role expand to include the new ILM studio, which will set up initially at Fox Studios Australia as the company researches options for their permanent Sydney studio.

Mirage News, New South Wales, Australia - 15 juillet 2019.

ILM est nommé aux Critics' Choice Awards pour les effets visuels de The Irishman et Avengers : Endgame.

Les Oscars ont révélé leurs shortlists pré-nominations dans certains catégories.
ILM est toujours en lice dans la catégorie Meilleurs effets visuels pour The Irishman ainsi que pour les films Disney suivants : Avengers : Endgame, Star Wars : L'Ascension de Skywalker, Terminator : Dark Fate et Captain Marvel.
https://www.oscars.org/oscars/92nd-oscars-shortlists

ILM est nommé aux Oscars pour The Irishman, Avengers : Endgame et Star Wars : L'Ascension de Skywalker.

ILM a mis à jour son site :
https://www.ilm.com/in-production/

On apprend donc qu'ils travaillent sur Space Jam 2.
https://www.ilm.com/vfx/space-jam-2/

ILM est nommé aux BAFTA dans la catégorie Meilleurs effets visuels pour le film Minuit dans l'Univers.

https://twitter.com/ILMVFX/status/1369337192418471938

J'ai pu constater en voyant le film et en lisant son générique de fin qu'ILM a réalisé des effets visuels additionnels de Chaos Walking, de Doug Liman (avec Tom Holland et Daisy Ridley).
En France, le film devrait sortir au cinéma à la réouverture des salles.


Par ailleurs, la bande-annonce de Space Jam : Nouvelle Ère est disponible.


Parmi les films de ce début d'année, à noter également, le film Netflix 'Ohana ou le Trésor Caché et le film Prime Video Un Prince à New York 2

Nouvelle bande-annonce de Fast & Furious 9 - La Saga Fast & Furious (oui, c'est son titre français claqué) :

No Time to Die établit un record d’ouverture à l’étranger avec 119 millions de dollars.


https://45secondes.fr/no-time-to-die-etablit-un-record-douverture-a-letranger-avec-119-millions-de-dollars/

Après Los Angeles (1x aux The Walt Disney Studios et 2x aux Manhattan Beach Studios) et Londres (1x aux Pinewood Studios), Vancouver va à son tour bénéficier du système StageCraft LED pour le tournage de films et de séries télévisées.

Ce cinquième exemplaire de cette installation également connue sous le nom de "Volume" sera construite à proximité de la succursale IL&M de Vancouver en Colombie-Britannique.

Citation :

ILM Plans Expansion With Virtual Production Stage in Vancouver

The company is looking to augment its StageCraft system, which was used in the production of the Disney+ series 'The Mandalorian' and is in use for 'Obi-Wan Kenobi.'

Industrial Light & Magic plans to expand its virtual production services with a new stage near its Vancouver facility, which is expected to open next spring

The VFX giant reported Wednesday that it would construct a roughly 20,000-square-foot stage for its StageCraft LED system, which will be its fifth such permanent volume. ILM also maintains two virtual production stages in Manhattan Beach, one at The Walt Disney Studios, and one at Pinewood Studios in London.

“Vancouver is a fantastic production hub where we’ve received a lot of interest from our clients who want a StageCraft volume in British Columbia. It was a natural next step for our expansion,” says Janet Lewin, senior vp and general manager of ILM.

Spencer Kent, executive in charge of ILM’s Vancouver studio, notes that its Canada-based artists have already contributed to digital set construction and virtual art department work on a number of StageCraft projects. “I’m also proud that we are actively recruiting with an eye toward hiring people from underrepresented communities,” he adds. “This effort will be bolstered when we launch our upcoming Jedi Training Academy in January.”

Members of the ILM team won Emmy Awards for the first two seasons of The Mandalorian, which used StageCraft. ILM is currently using its L.A.-based StageCraft systems on Disney+’s season three of The Mandalorian and upcoming series Obi-Wan Kenobi, and its Pinewood stage for Marvel’s Ant-Man and the Wasp: Quantumania.

ILM, a division of Lucasfilm, which is a Disney subsidiary, also builds temporary bespoke StageCraft volumes, such as the one constructed in Sydney for Taika Waititi’s upcoming Thor: Love and Thunder.

https://www.hollywoodreporter.com/business/digital/ilm-vancouver-expansion-stagecraft-1235048877/

Deux nominations aux Oscars pour ILM cette année, toutes deux pour des films Disney : Free Guy et Shang-Chi et la Légende des Dix Anneaux.

Industrial Light & Magic a participé, sous la supervision de Ben Morris, à la création des concerts virtuels ABBA Voyage du célèbre groupe de pop suédoise.  

Actuellement neuf concerts hebdomadaires, répartis sur cinq jours chaque semaine, sont proposés jusqu'à début octobre. D'autres dates de concerts sont déjà ouvertes à la vente (jusqu'au 28 mai 2023 inclus).

Un retour de quarante ans en arrière grâces à l'holographie !

Le site officiel : https://abbavoyage.com/

ILM s'occupe des personnages animés de Lost Ollie, don't la sortie est prévue sur Netflix le 24 août.



https://www.ilm.com/vfx/lost-ollie/

Industrial Light & Magic poursuit son expansion en ouvrant un studio à Mumbai en Inde, le sixième après les studios de San Francisco, Singapour, Vancouver, Londres et Sidney déjà en activité.

Citation :

INDUSTRIAL LIGHT & MAGIC CONTINUES GLOBAL EXPANSION, OPENING STUDIO IN INDIA

New Mumbai studio to provide full visual effects and animation services for film & television

Industrial Light & Magic (ILM), the award-winning visual effects division of Lucasfilm Ltd., announced today that the company is expanding its global operations. The studio, which is headquartered in San Francisco and has existing studios in Vancouver, London, Singapore and Sydney, will open a new full pipeline studio in Mumbai to gain access to the incredible talent base in the region. The Mumbai studio will be led by Kiran ‘KP’ Prasad, who was formerly head of studio at DNEG Bangalore & Chennai. Prasad will report to ILM SVP and General Manager, Janet Lewin.

“With five global studios consistently operating at capacity and continuing to grow, the time was right for ILM to expand once again to meet the industry’s increasing demand for high-caliber visual effects,” explained Lewin. “This new full-fledged visual effects studio in India will allow us to offer even greater capacity while ensuring that we always meet the high-quality bar that our clients expect of us.”

Rob Bredow, SVP and chief creative officer of ILM noted, “We’re excited to be building our ILM Studio in India where we can recruit the top artistic and technical talent from the visual effects industry now in India. This is the perfect time for ILM to form our sixth studio where artists will leverage our full pipeline of disciplines working across a wide variety of exciting shows – at the top quality and reliability our creative partners have come to expect from ILM.”

“ILM has always been on the forefront of technological and creative innovation in the visual effects industry and there is no better time to start our studio in India than now, as the Indian VFX industry is poised for spectacular growth in the coming years,” said Prasad. “It is exciting and an honor to be part of the ILM team at such a key moment in the VFX industry with technological developments pushing the boundaries of visual storytelling. I look forward to working with the executive team to set up the studio from the ground up, building a world-class facility and bringing the best of the diverse Indian talent together for  an opportunity with endless possibilities.”

ILM’s last expansion effort came in 2019 with the company’s Sydney studio. That studio is currently 400 people strong and growing. Combined, the ILM global studios will grow to over 2,500 artists and will continue to offer award-winning visual effects and animation as well as concept design and development, and virtual production, with the artistry, innovation, and creative problem-solving that is the hallmark of the company. As with the other studios, ILM’s Mumbai studio will work on all projects of all shapes and sizes, including live-action and animated feature films, television, streaming, and themed attractions.

https://www.ilm.com/ilm-mumbai-announcement/

Les acteurs des séries Star Wars nous parlent des tournages avec le StageCraft :

Trois nominations aux Oscars pour ILM avec :
- Avatar : La Voie de l'Eau
- Black Panther : Wakanda Forever
- The Batman

Nouveau logo pour Industrial Light & Magic et site officiel mis à jour avec une identité visuelle : 

Citation :

ILM UNVEILS NEW GROUP OF LOGOS, MARKING A NEW ERA OF INNOVATION

AS ILM INTRODUCES A NEW LOOK, ILMXLAB CHANGES ITS NAME TO ILM IMMERSIVE.

Industrial Light & Magic (ILM) has unveiled a new series of logos that restate its iconic status as the world’s premier visual effects company. As part of this cohesive effort across all of ILM’s sub-brands, immersive entertainment studio ILMxLAB has also officially changed its name to ILM Immersive. After more than a year of work in partnership with the Southern California design studio Hoodzpah, these changes reflect a new chapter for ILM as it approaches its 50th anniversary in 2025.



It’s been nearly two decades since the company last undertook such an effort. “A lot has changed since then,” says Rob Bredow, SVP chief creative officer, ILM. “Our core values have remained the same — people, innovation, and the highest-quality work. But now we’re in six countries with a team of over 3,000.” Not only has the company expanded physically, but into new technologies and storytelling mediums as well.

“One of those new establishments was ILMxLAB,” notes Bredow. “We had imagined that original name might be useful for the first few years of our existence in immersive entertainment, but it’s actually lasted even longer, and now we’re really happy to have a new direction — ILM Immersive — that better represents the variety of work we do.”

For Vicki Dobbs Beck, VP of immersive content, the name change almost “feels like we’ve graduated!” she says. “When we came up with the initial name, we obviously wanted to be associated with ILM, but we also wanted to acknowledge that we were in a nascent industry. We knew that we were going to have to experiment, explore, and learn, much like a traditional lab. The ‘X’ was a piece of the name and logo that has been carried forward. It was inspired by an X-wing, and it has rooted us in Lucasfilm. In recent years, we have become a much more robust part of ILM’s portfolio. This next step in our evolution is a really exciting moment and sets us up for a new era of immersive storytelling.”

This new era has its eyes on “mixed reality,” an evolving medium that integrates both virtual reality, “where we transport people to different worlds,” as Dobbs Beck puts it, and augmented reality, “where we help people see our world differently.” It’s all driven by storytelling and experimentation. “We want to retain the notion that we are an innovation hub and will continue to create first-of-kind experiences that push the state-of-the-art.”



A major component of ILM’s overall rebrand process involved going straight to the people of the company themselves. “We had over 1,000 employees join us in various meetings and interviews,” explains Bredow. “They each shared what makes ILM unique and what they wanted to see updated in a new brand.”

Hoodzpah’s co-founders Amy and Jennifer Hood (who also happen to be twin-sisters) participated in many of the interviews and discussions. “Everyone was so eager to see something exciting and fresh,” explains Amy. “They weren’t too beholden to anything, and yet, they all really loved the rich history of the cog and the bulb.” Jennifer adds that “In a way, we knew what we had to do from the start. We needed to go back to the roots, but make it feel relevant and modern. You want some nostalgia, but you also want to look to the future.”

“When we asked people questions, the one thing they always lit up for was, ‘What’s your earliest memory of ILM?’” Jennifer continues. “Either the first moment they saw an effect in a movie, or their first day on the job. Everyone was like a kid at Disneyland. That’s how we felt too. I remember when Amy first ran out of the office saying, ‘Guess who emailed us?! ILM!’ It’s how everyone feels when they get to work for a place as cool as this.”

After more than a decade working with entertainment companies like Disney, Nike, and Red Bull, this is one of Hoodzpah’s most in-depth projects to date. “We’re working on everything from hiring cards to event booths to the website, social media, and logo animation,” says Jennifer. As Amy explains, in their experience at different companies, “Sometimes it can be hard in a rebrand of this scale to get all the various people and teams on the same page as far as the vision. But we were so impressed by the cohesive sense of self and purpose among the ILM team members. Whether they had been working at ILM for six years or six weeks, they had such a clear sense of ‘this is who ILM is, this is what we stand for and what we should be going forward.’”

One person who’s been at ILM for decades is executive creative director John Knoll, and according to Rob Bredow, Knoll explained that “looking at the current brand, he wanted to see more of the ‘magic’ of ILM. In our new mark, you’ll see that kind of magic swoosh. It represents a couple of different things. There’s ‘magic’ of our name, which is one of our values; we’re innovative magic makers. But it also represents that newer global aspect. It’s swooshing around an imaginary globe, only it’s a lightbulb with the gears on it.”

As Jennifer Hood adds, “Every time we would interview a studio in a different location, they’d say, ‘We have to show that we’re global, but without putting a million flags in the logo.’ How do you represent that? We use the bulb and cog almost like it is its own planet, and that magic spark of innovation is soaring around it.”

In addition to ILM’s primary logo, ILM’s sub-brands have also been updated for a unified logo family. This included groups with established iconography like ILM Immersive and ILM StageCraft, as well as the newer group, Technoprops, who “didn’t have as much equity in their mark,” as Jennifer puts it. “Their logo changed the most. The goal over all was to make the parent brand and sub-brand logos look cohesive, but not homogenized. They retain their own personality in the glyphs.”

For the typography, the Hoodzpah team went back to the iconic logo illustrated by Drew Struzan in the early 1980s (and inspired by an earlier version by Michael Pangrazio). “We explored all sorts of different custom-type options,” says Amy. “In the end the final wordmark is a slab serif closely inspired by the Drew Struzan logo. It’s timeless. I feel like it is still going to be relevant for the next 20 or 30 years.”

They discovered to their delight that the font style created a subtle “holding device,” as they put it. “The rounded, Serif letters create a holding device like a movie screen or frames on  strip of film,” says Amy. “That became a motif.”

ILM is unusual in that it’s recognizable both in the professional entertainment industry as well as with the general audience and fans. Its iconography, therefore, needs to serve all of these tasks at once. “You can imagine that updating a brand like ILM’s is a bit of a daunting task,” Rob Bredow concludes. “It’s a storied company with an amazing history. If you look at the logos we’ve used over the years, they’re all fantastic. They’re of their time and they communicate a lot. When Jen and Amy came in with their pitch, they talked about making sure that we are communicating the story of our brand. What we are about and what are our values. It was a really fun exercise. We started just over a year ago, coming out of the pandemic. As we compared notes about our values, over and over again, it was about the people, the innovation, and the quality we can deliver. It was a great reminder of what an amazing place ILM is.”

https://www.ilm.com/