This summer, the epic studio disaster movie returns with an adrenaline-pumping, seat-gripping, big-screen thrill ride that puts you in direct contact with one of nature’s most wondrous—and destructive—forces.
From the producers of the Jurassic, Bourne and Indiana Jones series comes Twisters,
a current-day chapter of the 1996 blockbuster, Twister. Directed by Lee Isaac Chung, the Oscar® nominated writer-director of Minari, Twisters stars Golden Globe nominee Daisy Edgar-Jones (Where the Crawdads Sing, Normal People) and Glen Powell (Anyone But You, Top Gun: Maverick) as opposing forces who come together to try to predict, and possibly tame, the immense power of tornadoes.
As storm season intensifies, terrifying phenomena never seen before are unleashed, and Kate, Tyler and their competing teams find themselves squarely in the paths of multiple storm systems converging over central Oklahoma in the fight of their lives.
No bad deed goes unpunished.
Streaming exclusively on Disney, the origin story of Echo revisits Maya Lopez, whose ruthless behavior in New York City catches up with her in her hometown. She must face her past, reconnect with her Native American roots and embrace the meaning of family and community if she ever hopes to move forward.
Hailing from Paramount Animation, Hasbro and eOne, Transformers One tells the story of how a young Optimus Prime (Chris Hemsworth) and Megatron (Brian Tyree Henry) went from being brothers-in-arms to sworn enemies. Also starring are Scarlett Johansson, Keegan-Michael Key, Jon Hamm and Laurence Fishburne, who are respectively voicing Elita, Bumblebee, Sentinel Prime and Alpha Trion.
Read more about Transformers One on ILM.com:
ILM Evolutions: Animation, ‘Ultraman: Rising’ and ‘Transformers One’
Based on the Pulitzer Prize winning novel, All the Light We Cannot See tells the story of Marie-Laure Leblanc (Aria Mia Loberti), a blind French girl taking refuge with her father and reclusive uncle in St. Malo, France and Werner (Louis Hofmann), a brilliant teenager enlisted by hitler’s regime with an expertise in radio repair. Together they share a secret connection that will become a beacon of light that leads them through the harrowing backdrop of WWII.
Director Darren Aronofsky once again called on longtime collaborator ILM to create visuals for his new film Postcard From Earth however, this project would be like no other. Postcard is the first immersive production made for MSG Sphere, the state-of-the-art sphere-shaped venue that opened in the Fall of 2023. Aronofsky created, directed, and produced the film which was captured on a bespoke camera system called Big Sky, a single-lens camera with a 316-megapixel, 3-inch x 3-inch HDR image sensor that can capture 18Kx18K images up to 120 frames per second. Crafting visual effects for the film was an incredible challenge, but one Visual Effects Supervisor Bill George and his crew were excited to tackle.
“At its best, cinema is an immersive medium that transports the audience out of their regular life, whether that’s into fantasy and escapism, another place and time, or another person’s subjective experience. The Sphere is an attempt to dial up that immersion.”
– Darren Aronofsky
Bill George explained, “Producing our sequences for Postcard from Earth challenged the very limits of ILM’s hardware and software. Sphere’s immersive screen, with its brightness and razor-sharp resolution, meant that for us every single pixel mattered. Collaborating with Darren on his vision for this film really pushed the boundaries of what is expected in this kind of venue and It’s really exciting to think about what will be born out of the seed of “Postcard from Earth”. It’s a multi-layered window into what experiences are possible in the Sphere.”
In the second season, the Calvin family is back in the North Pole as Scott Calvin continues his role as Santa Claus after retirement plans were thwarted when he failed to find a worthy successor in season one. Now that Scott and his family have successfully saved Christmas, Scott turns his focus towards training his son Cal to eventually take over the “family business” as Santa Claus. However, a bit of North Pole magic brings an unexpected challenge to Scott’s plan
ILM contributed successfully to the first season with StageCraft LED work. For Season 2, ILM StageCraft was used once again and ILM contributed post visual effects as well. The visual effects work on the project was overseen by Trevor Hazel, with a seamless partnership between ILM’s San Francisco office and SDFX. Together, the team ultimately delivered 333 shots of Christmas cheer for the series.
For their upcoming U2:UV Achtung Baby Live experience, U2 approached Industrial Light & Magic (ILM) with an incredible challenge, to take the recently completed next-generation entertainment venue – Sphere – and make it disappear before the eyes of a live audience then take the surrounding city itself and essentially make it disappear as well in a unique, awe-inspiring fashion.
“U2:UV Achtung Baby Live At Sphere redefines the 21st-century rock concert.”
London-based Treatment Studio, the creative and technical team that created and produced the overall U2:UV show design, executed the first phase of the transformation and created an incremental buildup of insects against a backdrop representing the outer shell of the Sphere. As the entire ‘sky’ becomes blotted out by the insects, they begin to disperse in an intentionally artistic manner revealing ILM’s majestic Las Vegas cityscape. 4 months in the making, a team of 20 ILM visual effects artists crafted an ultra-high-resolution, fully CG version of Las Vegas as seen from the exact point of view of an audience seated within the Sphere utilizing cutting-edge visual effects. Concertgoers witness the city that has reinvented itself decade after decade deconstruct itself in a reverse timelapse beginning in the present and ending in the early 1900s when the territory was nothing but an empty desertscape. ILM leveraged every ounce of its artist’s vast expertise in creating fully CG photoreal environments to generate Terabytes of media at an eye-watering 16K x 16K resolution to fill Sphere’s 580,000 square feet of LEDs. The team also delivered multiple loopable segments at varying lengths that could be sequenced at random to suit U2’s desired performance timing all in service of telling a story like no other and enabling the band to, once again, push the bounds of what a live performance can be.
“…it works so well that, like the Abba’s Voyage show, you leave feeling confident this is an idea others are going to copy: clearly other rock bands are going to turn up to the Sphere in the future, bearing performances big on dazzling technology. Whether they’ll be as dazzling, or indeed as charming as this, time will show.”
