ADAPT­ING TO CG

With Paul Ver­ho­even’s 1997 space satire Star­ship Troop­ers, Tip­pett and his stu­dio showed their dig­i­tal wares, to dra­matic ef­fect

3D Artist - - THE HUB -

In the mid-nineties, Tip­pett Stu­dio sud­denly went from a stop-mo­tion stu­dio to a CG an­i­ma­tion stu­dio, and it was Star­ship Troop­ers that her­alded their ar­rival. The bug-filled block­buster seemed per­fect for Phil Tip­pett’s ap­petite of hard-core crea­ture an­i­ma­tion. Aided by fel­low vis­ual ef­fects su­per­vi­sor Craig Hayes, who had also had a hand in steer­ing the stu­dio dur­ing the Juras­sic Park tran­si­tion, Tip­pett di­rected his an­i­ma­tors into a new wave of vis­ual ef­fects. The stu­dio’s ‘Dig­i­tal In­put De­vice’ – a metal ar­ma­ture that fed stop mo­tion-like move­ments to a CG model – and CG soft­ware such as Sof­tim­age, en­abled the stu­dio to cre­ate a host of mem­o­rable crea­tures.

On Star­ship Troop­ers, di­rec­tor Paul Ver­ho­even re­ally liked strong stac­cato move­ments, so just in terms of chore­og­ra­phy we were to­tally on the same page

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