Story of the making of STARSHIP TROOPERS
I chose this theme to show the opportunities of my future profession. I will tell you how difficult visual effects are and how they were made in one of the largest visual effects film in motion picture history reportedly contains over 500 visual effects shots - STARSHIP TROOPERS. The film's effects range from herds of attacking bug aliens to the most elegant of space sequences to laser blasts eminating from training guns to countless bluescreen composites. The collection of effects for the film is staggeringly enormous, and the illusions created by the effects artists are of the highest caliber. Nominated for eight Best Visual Effects, Best Sequence (Whisky Compound), Best Shot (Escape from Whisky Compound), Best CG Character Animation, Best Models/Miniatures, Best Miniature Pyrotechnics, Best Matte Paintings and Best Compositing, Winner of Best Miniature Pyrotechnics. The film was originally slated for an August release, but was pushed back to November of 1997 for various reasons - mainly because the studio, Sony Entertainment, already had released a bevy of science-fiction/action films during the summer. The extra time afforded to the effects crews shows in their work. The shots are polished, crisp, and are be
Choreographing the massive starships in an interplanetary ballet was senior visual effects supervisor Scott E. Anderson. Tapped to handle the Fleet sequences battle sequences was the respected visual effects house Sony Pictures Imageworks, under the supervision of Dan Radford. The film's opening FedNet sequence features a short space sequence, documenting an approaching asteroid, on its way to Earth, as the lunar ring's weapons systems come on line and destroy the looming threat. The other lunar ring sequences, including Carmen's flight to the Rodger Young and her piloting the RY out of spacedock, and a duo of Ticonderoga space station sequences, were executed by Industrial Light & Magic, under the supervision of Scott Squires. Sony shot hundreds of pyrotechnic explosions to eventually composite into these sequences. At any one point, an effects shot could include anywhere between 50 to 100 pyrotechnic elements. Cooper noted, "There was something like two hours of pyro elements online at any one time during the compositing. None of the pyro on the ships is CG. It was all painstakingly tracked. The most complex shots took an average of about a month and a half with a team of about four."
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Approximate Word count = 5611
Approximate Pages = 22 (250 words per page double spaced)
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