reported by Paul Taglianetti
The Visual effects archive would like to take a moment to acknowledge the anniversary of James Cameron's breakthrough science fiction adventure the Abyss. Well known as one of the most difficult, grueling and technically challenging productions of the 20th century, The Abyss broke new grounds in the field of digital technology usage in visual effects, specifically the creation of the "PseudoPod" water tentacle probe supervised by George Lucas' Industrial Light and Magic. originally conceived as a possible stop motion animation character, VFX supervisor Dennis Muren and his crew managed to convince James Cameron of the viability of computer generated 3D imagery which was still in it's infancy. The results were stunning and helped pave the way for digital effects in Cameron's follow up film Terminator 2 and Steven Speilberg's Jurassic Park.
In addition, Hoyt Yeatman's Dreamquest Images, Marina Del Rey's Video Image, Gene Warren Jr's Fantasy II studios, Steve Johnson FX and Robert and Dennis Skotak provided additional striking visuals for the film which won the Academy Award of Visual effects in 1989.
The eclectic mix of effects methodologies here )digital, miniature, video, motion control, puppetry is rarely used in today's digital-heavy era. But the work holds up even by today's audience exacting standards. Whats even more impressive was the months of actual underwater photography, the development of actual mechanical ROV units and custom made scuba masks and tanks. Cameron's demanding standards may have sent the budget through the roof but the created a high water mark for all action films today that has rarely been matched.
see more pictures and behind the scenes footage at the visual effects archive page
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