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From arch-viz to visual effects, Mark Ramshaw meets the studios that made their mark on the CG industry in the last year. This week, Iloura…
Those outside Australia might be forgiven for thinking that Iloura is a relative newcomer, but its recent run of high-profile projects (including work on Steven Spielberg’s The Pacific mini-series and James Cameron’s Sanctum) is just the latest chapter in a 30-year-long story.
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▲ Movie-level visual effects for Spielberg’s acclaimed mini-series The Pacific
“We started life as a traditional post house, and then in the 1990s began investing in visual effects tools,” explains Simon Rosenthal, executive producer at Iloura. “3D animation then became an important part of our work, particularly after acquiring a local animation company.”
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Now a subsidiary of film investment and distribution company Omnliab, the studio employs around 150 people across its Melbourne and Sydney offices, with an average of 70 devoted to film, 30 to 40 dealing with advertising, experiential work, and 45 on an episodic TV series. It’s this flexibility that enabled the studio to tackle 500 shots on Ghost Rider: Spirit of Vengeance.
“We hadn’t spent a lot of time developing those types of effects in-house before,” says Rosenthal. “But after meeting the challenges of the project, with the fire and so on, we’re now very strong on effects animation.”
While the movie is likely to push Iloura further into the spotlight, Rosenthal remains cautious. “We’re more interested in good opportunities, ones that challenge the artists without crucifying or tipping them over the edge. Making sure we look after them, retain them and maintain that drive is the biggest challenge we face. Expansion will happen, but we want to make sure we don’t ever lose that personal boutique feel.”
Visit www.iloura.com to discover what the studio is working on right now.
