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| + | [[File:Digital Magic Company logo.jpg|right|150px|Digital Magic Company]] |
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| − | '''Digital Magic Company''' or '''Digital Magic''' for short, located in Santa Monica, CA., was an effects house responsible for the |
+ | '''Digital Magic Company''' or '''Digital Magic''' for short, located in Santa Monica, CA., was an effects house responsible for the post-production editing of, as well as creating, visual effects of numerous episodes on the last three seasons of ''[[Star Trek: The Next Generation]]'', the first three seasons of ''[[Star Trek: Deep Space Nine]]'', the first six seasons of ''[[Star Trek: Voyager]]'', the feature film {{film|7}}, as well as the [[Star Trek documentaries and specials|documentaries]] ''[[Star Trek 25th Anniversary Special]]'' and ''[[Journey's End: The Saga of Star Trek: The Next Generation]]''. |
| − | Digital Magic, a division of [[Four Media Company]], produced |
+ | Digital Magic, a division of [[Four Media Company]], produced visual effects and provided post-production services and facilities to film and television productions. Among its founders was [[Mark F. Miller]], who served as the company's president from 1998 until 2000, when he left the company to found [[Eden FX]] with [[John Gross]]. |
| − | Digital Magic was especially created for ''The Next Generation'' at the start of its [[TNG Season 5|fifth season]] when the franchise made the decision to drop [[The Post Group]] as main provider for effects post-production services. (''[[Cinefantastique]]'', issue 97, Vol 24 #3/4, p.80) |
+ | Digital Magic was especially created in 1991 for ''The Next Generation'' at the start of its [[TNG Season 5|fifth season]] when the franchise made the decision to drop [[The Post Group]] as main provider for effects post-production editing services. (''[[Cinefantastique]]'', issue 97, Vol 24 #3/4, p. 80) |
| ⚫ | The "digital" in the name initially did not refer to the technique of [[CGI|computer generated imagery]] (CGI), but rather the use of computers as aid in compositing and editing visual effects shots in post-production as opposed to actually generating these effects on the computer. Still Digital Magic, along with [[Rhythm & Hues]] and [[Santa Barbara Studios]] were among the very the first production companies that were experimenting for the television franchise on a more regular basis with the new technique, that by that time was making a rapid entry in the industry. Illustrative of this was employees Joe Conti and Tim McHugh's first use of the {{w|Lightwave 3D}} software in creating the [[Anaphasic lifeform]] for {{TNG|Sub Rosa}}. LightWave 3D went on to become the standard software package for CGI in the television franchise. |
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| + | [[File:Phil Barberio.jpg|thumb|[[Phil Barberio|Barberio]] (foreground), [[Ronald B. Moore|Moore]] (standing) and [[Scott Rader|Rader]] in the editing bay at Digital Magic]] |
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| ⚫ | The "digital" in the name initially did not refer to the technique of [[CGI|computer generated imagery]] (CGI), but rather the use of computers as aid in compositing visual effects shots in post-production as opposed to actually generating these effects on the computer. Still Digital Magic, along with [[Rhythm & Hues]] and [[Santa Barbara Studios]] were the first production companies that were experimenting for the television franchise on a more regular basis with the new technique, that by that time was making a rapid entry in the industry. Illustrative of this was employees Joe Conti and Tim McHugh's first use of the {{w|Lightwave 3D}} software in creating the [[Anaphasic lifeform]] for {{TNG|Sub Rosa}}. LightWave 3D went on to become the standard software package for CGI in the television franchise. |
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| ⚫ | Former Digital Magic employee, Special FX Supervisor Loni Peristere, also being a former employee of [[POP Film and POP Animation|Pacific Ocean Post]], a sister company of Digital Magic, has shed some light on the way the company operated, "''Digital Magic was once an 'effects boutique' created solely for 'Star Trek, the Next Generation'. The boutique did all the visual effects for the show and a group of people working there created Digital Magic, because of the 'Star Trek' franchise. Digital Magic is a company that owns visual effects equipment and is a facility where very talented visual effects artists have worked. In other words, Digital Magic would be a company which has an Inferno, a Henry, 3D machines and SGI machines that we use. They facilitate the work but their involvement in the actual production process is minimal. It's almost like a shop. But because of their reputation for having a well run shop, they hire good artists and they produce the work that they promise with the best machines that the industry makes.''" {{brokenlink|url=http://www.cityofangel.com/behindTheScenes/bts/digitalMagic1.html}} |
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| + | In {{y|1999}}, the company received an [[Emmy_Award#International_Monitor_Awards|International Monitor Award]] in the category "Film Originated Television Series - Electronic Visual Effects" for their work on {{VOY|Thirty Days}}. |
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| ⚫ | Special FX Supervisor Loni Peristere, a former employee of [[POP Film and POP Animation|Pacific Ocean Post]], a sister company of Digital Magic, has shed some light on the way the company operated, "''Digital Magic was once an 'effects boutique' created solely for 'Star Trek, the Next Generation'. The boutique did all the visual effects for the show and a group of people working there created Digital Magic, because of the 'Star Trek' franchise. Digital Magic is a company that owns visual effects equipment and is a facility where very talented visual effects artists have worked. In other words, Digital Magic would be a company which has an Inferno, a Henry, 3D machines and SGI machines that we use. They facilitate the work but their involvement in the actual production process is minimal. It's almost like a shop. But because of their reputation for having a well run shop, they hire good artists and they produce the work that they promise with the best machines that the industry makes.''" |
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| − | The company has also worked on such television productions as ''Dr. Quinn, Medicine Woman'', ''Lois & Clark: The New Adventures of Superman'', ''Buffy the Vampire Slayer'', and ''Angel''. Their film work |
+ | The company has also worked on such television productions as ''Dr. Quinn, Medicine Woman'' (1999), ''Lois & Clark: The New Adventures of Superman'' (1993–1997), ''Buffy the Vampire Slayer'' (1997–2003), and ''Angel''. Their film work included among others, ''Candyman'' (1992), ''Cliffhanger'' (1993), ''Coneheads'' (1993), ''Dumb & Dumber'' (1994), ''The River Wild'' (1994), ''Judge Dredd'' (1995), ''The Arrival'' (1996), ''Volcano'' (1997), ''Species II'' (1998), and ''Armageddon'' (1998), with the short movie ''Bottleneck'' (2006), being the company's last recorded credit. |
| − | As of 2011 the company is no longer in operation, as their homepage, "www. |
+ | As of 2011 the company is no longer in operation, as their homepage, "www.4mc.com/digitalmagic.html", has been off-line since 2008. |
== Staff == |
== Staff == |
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| − | * [[Phil Barberio]] (Coordinator) |
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* [[Patrick Clancey]] (Visual Effects Compositor) |
* [[Patrick Clancey]] (Visual Effects Compositor) |
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* [[Joe Conti]] |
* [[Joe Conti]] |
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* [[Bryan Grill]] |
* [[Bryan Grill]] |
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| + | * [[Paul Hill]] (Visual Effects Compositor) |
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* [[Adam Howard]] (Visual Effects Compositor, Computer Animator) |
* [[Adam Howard]] (Visual Effects Compositor, Computer Animator) |
||
* [[Tim McHugh]] |
* [[Tim McHugh]] |
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| − | * [[Mark Miller]] |
+ | * [[Mark F. Miller]] |
* [[Scott Rader]] (Visual Effects Compositor) |
* [[Scott Rader]] (Visual Effects Compositor) |
||
| + | * [[Greg Rainoff]] (Visual Effects Animator) |
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* [[Rich Thorne]] (Creative Director) |
* [[Rich Thorne]] (Creative Director) |
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| + | * [[Jim Eberle]] (Visual Effects Compositor) |
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| + | * [[Chuck Heron]] (Editor/Visual Effects Compositor) |
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| − | ==Further reading== |
+ | == Further reading == |
| − | *David Ian Salter, '' |
+ | * "Special Visual Effects", David Ian Salter, ''[[Cinefantastique]]'', issue 97, Vol 24 #3/4, pp. 79-82 |
== External link == |
== External link == |
||
| − | *{{IMDb-link|type=company|page=co0066326}} |
+ | * {{IMDb-link|type=company|page=co0066326}} |
| + | * {{Brokenlink|http://www.4mc.com/digitalmagic.html|Digital Magic Company}} - archived company website |
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| + | |||
[[Category:Digital visual effects companies]] |
[[Category:Digital visual effects companies]] |
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| + | [[Category:International Monitor Award winners]] |
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Revision as of 22:54, 15 July 2014
Template:Realworld
Digital Magic Company or Digital Magic for short, located in Santa Monica, CA., was an effects house responsible for the post-production editing of, as well as creating, visual effects of numerous episodes on the last three seasons of Star Trek: The Next Generation, the first three seasons of Star Trek: Deep Space Nine, the first six seasons of Star Trek: Voyager, the feature film Star Trek Generations, as well as the documentaries Star Trek 25th Anniversary Special and Journey's End: The Saga of Star Trek: The Next Generation.
Digital Magic, a division of Four Media Company, produced visual effects and provided post-production services and facilities to film and television productions. Among its founders was Mark F. Miller, who served as the company's president from 1998 until 2000, when he left the company to found Eden FX with John Gross.
Digital Magic was especially created in 1991 for The Next Generation at the start of its fifth season when the franchise made the decision to drop The Post Group as main provider for effects post-production editing services. (Cinefantastique, issue 97, Vol 24 #3/4, p. 80) The "digital" in the name initially did not refer to the technique of computer generated imagery (CGI), but rather the use of computers as aid in compositing and editing visual effects shots in post-production as opposed to actually generating these effects on the computer. Still Digital Magic, along with Rhythm & Hues and Santa Barbara Studios were among the very the first production companies that were experimenting for the television franchise on a more regular basis with the new technique, that by that time was making a rapid entry in the industry. Illustrative of this was employees Joe Conti and Tim McHugh's first use of the Lightwave 3D software in creating the Anaphasic lifeform for TNG: "Sub Rosa". LightWave 3D went on to become the standard software package for CGI in the television franchise.
Barberio (foreground), Moore (standing) and Rader in the editing bay at Digital Magic
Former Digital Magic employee, Special FX Supervisor Loni Peristere, also being a former employee of Pacific Ocean Post, a sister company of Digital Magic, has shed some light on the way the company operated, "Digital Magic was once an 'effects boutique' created solely for 'Star Trek, the Next Generation'. The boutique did all the visual effects for the show and a group of people working there created Digital Magic, because of the 'Star Trek' franchise. Digital Magic is a company that owns visual effects equipment and is a facility where very talented visual effects artists have worked. In other words, Digital Magic would be a company which has an Inferno, a Henry, 3D machines and SGI machines that we use. They facilitate the work but their involvement in the actual production process is minimal. It's almost like a shop. But because of their reputation for having a well run shop, they hire good artists and they produce the work that they promise with the best machines that the industry makes." Template:Brokenlink
In 1999, the company received an International Monitor Award in the category "Film Originated Television Series - Electronic Visual Effects" for their work on VOY: "Thirty Days".
The company has also worked on such television productions as Dr. Quinn, Medicine Woman (1999), Lois & Clark: The New Adventures of Superman (1993–1997), Buffy the Vampire Slayer (1997–2003), and Angel. Their film work included among others, Candyman (1992), Cliffhanger (1993), Coneheads (1993), Dumb & Dumber (1994), The River Wild (1994), Judge Dredd (1995), The Arrival (1996), Volcano (1997), Species II (1998), and Armageddon (1998), with the short movie Bottleneck (2006), being the company's last recorded credit.
As of 2011 the company is no longer in operation, as their homepage, "www.4mc.com/digitalmagic.html", has been off-line since 2008.
Staff
- Patrick Clancey (Visual Effects Compositor)
- Joe Conti
- Bryan Grill
- Paul Hill (Visual Effects Compositor)
- Adam Howard (Visual Effects Compositor, Computer Animator)
- Tim McHugh
- Mark F. Miller
- Scott Rader (Visual Effects Compositor)
- Greg Rainoff (Visual Effects Animator)
- Rich Thorne (Creative Director)
- Jim Eberle (Visual Effects Compositor)
- Chuck Heron (Editor/Visual Effects Compositor)
Further reading
- "Special Visual Effects", David Ian Salter, Cinefantastique, issue 97, Vol 24 #3/4, pp. 79-82
External link
- Template:IMDb-link
- Template:Brokenlink - archived company website