Special effects are illusions or visual tricks used in the theatre, film, television, video game, amusement park and simulator industries to simulate the imagined events in a story or virtual world. It is sometimes abbreviated as SFX, but this may also refer to sound effects.
Digital art refers to any artistic work or practice that uses digital technology as part of the creative or presentation process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art.
Visual effects is the process by which imagery is created or manipulated outside the context of a live-action shot in filmmaking and video production. The integration of live-action footage and other live-action footage or CGI elements to create realistic imagery is called VFX.
Traditional animation is an animation technique in which each frame is drawn by hand. The technique was the dominant form of animation of the 20th century, until there was a shift to computer animation in the industry, such as digital ink and paint and 3D computer animation.
Concept art is a form of visual art used to convey an idea for use in film, video games, animation, comic books, television shows, or other media before it is put into the final product. The term was used by the Walt Disney Animation Studios as early as the 1930s. Concept art usually refers to world-building artwork used to inspire the development of media products, and is not the same as storyboard, though they are often confused.
Compositing is the process or technique of combining visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene. Live-action shooting for compositing is variously called "chroma key", "blue screen", "green screen" and other names. Today, most compositing is achieved through digital image manipulation. Pre-digital compositing techniques, however, go back as far as the trick films of Georges Méliès in the late 19th century, and some are still in use.
Non-photorealistic rendering (NPR) is an area of computer graphics that focuses on enabling a wide variety of expressive styles for digital art, in contrast to traditional computer graphics, which focuses on photorealism. NPR is inspired by other artistic modes such as painting, drawing, technical illustration, and animated cartoons. NPR has appeared in movies and video games in the form of cel-shaded animation as well as in scientific visualization, architectural illustration and experimental animation.
Mattes are used in photography and special effects filmmaking to combine two or more image elements into a single, final image. Usually, mattes are used to combine a foreground image with a background image. In this case, the matte is the background painting. In film and stage, mattes can be physically huge sections of painted canvas, portraying large scenic expanses of landscapes.
Graphic art software is a subclass of application software used for graphic design, multimedia development, stylized image development, technical illustration, general image editing, or simply to access graphic files. Art software uses either raster or vector graphic reading and editing methods to create, edit, and view art.
Albert J. Whitlock Jr. was a British-born motion picture matte artist best known for his work with Disney and Universal Studios.
Norman O. Dawn was an early American film director. He made several improvements on the matte shot to apply it to motion picture, and was the first director to use rear projection in film production.
William Samuel Cook "Peter" Ellenshaw was an English matte designer and special effects creator who worked on many Disney features. Born in London, he moved to America in 1953.
Harrison Ellenshaw is an American matte painter, following his British father Peter Ellenshaw. He started his career at Walt Disney Studios. He later joined George Lucas's effects studio Industrial Light and Magic (ILM), where he produced many of the matte visual effects backgrounds for the films Star Wars (1977) and The Empire Strikes Back (1980). He then returned to Disney and worked on the 1979 film The Black Hole, for which he and his father were nominated for an Academy Award for their work. He also worked on The Watcher in the Woods (1980), and Tron (1982), for which he was Visual Effects Supervisor, and Dick Tracy (1990). He eventually headed Disney Studio's effects department, Buena Vista Visual Effects (BVVE).
Craig Barron is an American visual effects artist and creative director at Magnopus, a media company that produces visual development and virtual production services for motion pictures, television, museums and multimedia platforms.
Matte World Digital was a visual effects company based in Novato, California that specialized in realistic matte painting effects and digital environments for feature films, television, electronic games and IMAX large-format productions. The company closed in 2012 after 24 years of service in the entertainment industry.
JP Trevor is a British conceptual artist best known for his surrealist and realist landscape painting and film design.
The history of computer animation began as early as the 1940s and 1950s, when people began to experiment with computer graphics – most notably by John Whitney. It was only by the early 1960s when digital computers had become widely established, that new avenues for innovative computer graphics blossomed. Initially, uses were mainly for scientific, engineering and other research purposes, but artistic experimentation began to make its appearance by the mid-1960s – most notably by Dr. Thomas Calvert. By the mid-1970s, many such efforts were beginning to enter into public media. Much computer graphics at this time involved 2-D imagery, though increasingly as computer power improved, efforts to achieve 3-D realism became the emphasis. By the late 1980s, photo-realistic 3-D was beginning to appear in film movies, and by mid-1990s had developed to the point where 3-D animation could be used for entire feature film production.
Walter Percy Day O.B.E. (1878–1965) was a British painter best remembered for his work as a matte artist and special effects technician in the film industry. Professional names include W. Percy Day; Percy Day; "Pop" or "Poppa" Day, owing to his collaboration with sons Arthur George Day (1909–1952) draughtsman, Thomas Sydney Day (1912–1985), stills photographer and cameraman, and stepson, Peter Ellenshaw, who also worked in this field.
Michael Pangrazio is an American art director in the feature film industry best known for his matte painting work on Raiders of the Lost Ark and The Empire Strikes Back. As traditional and digital matte artist, he created some of the most famous matte paintings in movie history. His best known painting is the Raiders of the Lost Ark warehouse interior set-extension at the end of the movie.
Mark Cotta Vaz is an American author, editor and film historian. He has authored over thirty books, including four New York Times bestsellers. He has focused on documenting film special effects and other behind-the-scenes aspects of visual presentation. He has written about these aspects for both Star Wars and Star Trek. He has produced a number of movie companion books, such as those for The Spirit, Beautiful Creatures and four for the Twilight series. Publishers Weekly said about his biography of Merian C. Cooper: The charismatic Cooper, "a man living his own movie," is no longer an obscure, remote figure, thanks to Vaz's exhaustive research and skillful writing.
