The 37 best CGI movie moments of all time
The best CGI movie moments have brought the seemingly impossible to the big screen, transporting us to fantasy worlds and presenting astounding characters. Such visual effects in movies have evolved dramatically since they started to become commonplace in the 1980s, and the art of creating realistic looking environments, monsters, creatures and buildings continues to evolve.
Many 2D and 3D movies rely on the creative talent of special effects companies like Industrial Light & Magic and Weta to enhance their stories with stunning VFX. In this article, we've rounded up our pick of the best CGI movie moments in movies old and new. Did your favourite make the cut?
If you're a digital artist and are motivated to up your game, take a look at our roundup of the best 3D modelling software, or browse our showcase of incredible 3D art for more inspiration.
The best CGI movie moments
01. Dune (2021)
Director: Denis Villeneuve
VFX: DNEG
Released in 2021, Denis Villeneuve's Dune wasn't the first time Frank Herbert's sci-fi epic was brought to the big screen, but it was a lot more convincing than David Lynch's poorly received production. Of course, that wasn't only due to CGI, but great GCI did play a part. It made the landscape of Arrakis feel real, from small details to the very big sandworm. We can't wait for the next installment.
Killer sequence: That sandworm. Incredible VFX made this fantastical monster feel real and created a sense of its sheer size as well as its speed and power under the sand.
02. The Irishman (2019)
Director: Martin Scorsese
VFX: Industrial Light & Magic
Martin Scorsese's The Irishman might not be the first film that comes to mind when you try to think of the best CGI movies. However, the film shows just how much de-aging special effects have advanced in recent years.
We know that as a method actor Robert De Niro has gone to extreme lengths to prepare for his roles over the years, but he can't travel in time. Only CGI can do that. In the video above, Netflix reveals how it was done.
03. Interstellar (2014)
Director: Christopher Nolan
VFX: DNEG
This fascinating exploration of space travel and the effects of time dilation features some beautiful effects work, including some truly realistic spaceship scenes (mainly done with miniatures) and a scientifically accurate CG representation of the supermassive black hole, Gargantua. But no one expected the final reel, in which astronaut Joseph Cooper (Matthew McConaughey) enters the ‘tesseract’, a four-dimensional construct of interlinked timelines, where he communicates with his daughter, Murph, in the far distant past.
VFX supervisor, Paul Franklin, told Art of VFX that the concept was based on a three-dimensional extension of slitscan photography (used to great effect in 2001: A Space Odyssey). All the elements of Murph’s bedroom were scanned at high-res and used to create a digital version, and from this they generated the multiple extruded timelines. The 3D team had to come up with clever ways of handling the huge data load so they could render it using Houdini’s Mantra. This digital model was used to extend the physical tesseract set to infinity… and beyond.
Killer sequence: That time-warping, mind-bending tesseract.
04. War for the Planet of the Apes (2017)
Director: Matt Reeves
VFX: Weta Digital
Watch it for the incredibly lifelike apes, of course. We could have included any of the three films, but with War for the Planet of the Apes, Weta Digital really nailed it, taking the levels of realism to new heights. There’s one scene where we see Caesar caged in the Alpha-Omega military base. Through the bars we see Woody Harrelson and his men, alongside a servile gorilla, and in the background is another cage full of apes. It’s night-time, it’s raining, the ape fur is wet and clumpy, and CG characters stand shoulder-to-shoulder with real actors… Despite being a compositor’s nightmare, it’s all totally seamless and utterly believable.
The New Zealand-based VFX house surpassed itself, not only with the incredible fidelity of the ape recreations, but also with entirely digital environments, water, weather and battle scenes. To do so it employed a range of in-house tools – Facets for facial performance capture; Tissue for muscle and skin; Wig for fur; Lumberjack for vegetation; Synapse for smoke and fire; Manuka for physically-based rendering – and the results speak for themselves.
Killer sequence: The final battle is great, but, really, all of the VFX are outstanding.
05. The Jungle Book (2016)
Director: Jon Favreau
VFX: MPC, Weta Digital
This reimagining of Disney’s classic 1967 animated feature is groundbreaking for the photorealism of its entirely computer-generated environments and animals – plus the fact that its a cracking yarn, beautifully told. Apart from a handful of props, the only real thing in the movie is Mowgli, played by Neel Sethi.
To create the panoply of creatures needed for the film – 54 species and 224 unique animals in all – MPC relied on its in-house hair system, Furtility, while developing new software to generate authentic musculature. Houdini, Flowline and Maya were used for water, mudslides and fire, and in-house program Kali handled object destruction.
The scale of the project meant some of the workload was handed off to Weta Digital, which handled shots of Bagheera the tiger, plus King Louis and the destruction of the monkey temple – which should have been a doddle for the experienced Planet of the Apes team.
Killer sequence: Baloo singing Bare Necessities while floating along an all-CG jungle river.
06. The Walk (2015)
Director: Robert Zemeckis
VFX: Atomic Fiction, RodeoFX, Universal Production Partners
Watch The Walk to experience, at first hand, Philippe Petit’s vertiginous high-wire walk between the twin towers of the World Trade Center in 1974. With the destruction of the towers in 2001, every aspect of the buildings had to be recreated in CG – along with the city of New York stretching off to the horizon. The task fell to three vendors: Atomic Fiction handled the wire walk; RodeoFX saw to the creation of ground-level shots of the towers; and Czech Republic-based UPP contributed a number of shots, including digital recreations of Paris plus head replacements, swapping the face of a real wire walker for that of Joseph Gordon-Levitt.
Overall, the work is stylishly convincing, and the climactic walk – which in reality took place 1,368 ft above World Trade Center Plaza – is just as nerve-jangling and heart-in-mouth as you’d expect. Only the top corner section of the south tower was physically built, surrounded by acres of green screen. Everything else – towers, sky, clouds, cityscape, slack-jawed bystanders, precipitous drop to certain death – is all digital, which was lit in Katana and rendered using V-Ray.
Killer sequence: The dramatic walk between south tower and north tower – which Petit performed six times.
07. Avengers: End Game (2019)
Director: Anthony Russo, Joe Russo
VFX: ILM, Weta Digital, DNEG, Framestore, Cinesite, Digital Domain, Rise, Lola VFX, Cantina Creative, Capital T, Technicolor VFX, Territory Studio
We couldn’t not include one of the biggest blockbusters of all time, which is the culmination of a decade of Marvel Universe movies and a damn fine adventure to boot. If you sat patiently waiting for the post-credit sequence, you’ll know just how many VFX studios worked to deliver this incredible visual feast; after all, there’s barely a single frame without extensive CG work.
Highlights include Digital Domain and Weta Digital’s brilliant work on Thanos, an entirely CG character who takes up an hour of screen time, plus ILM and Framestore sharing duties in bringing ‘Smart Hulk’ to life. For the climactic battles, ILM handled the assault on Wakanda, while Weta Digital was responsible for the spectacular final onslaught against Thanos and his massed armies – both of which were remarkable undertakings, pushing the possibilities of VFX to their limits.
Killer sequence: The final confrontation, which brings 21 films’ worth of characters together for the MCU’s equivalent of the Battle of Helm’s Deep.
08. King Arthur: Legend of the Sword (2017)
Director: Guy Ritchie
VFX: Framestore, ScanlineVFX, Method Studios, MPC
Despite a cameo by David Beckham, Guy Ritchie’s retelling of the Arthurian Legends received a critical mauling and its five (five!?) sequels were immediately cancelled. However the good news is that the one sequence worth watching takes place right at the start of the film, as the massed forces of Mordred lay siege to Camelot, a huge stone fortress atop a rocky outcropping. The battle is a truly impressive spectacle with destruction on a massive scale, and featuring some of the most complex simulation work Framestore has ever done.
The remainder of the film is a bit of a mixed bag, but does feature plenty of fantastical goings-on. There’s a battle with a giant snake, and some pretty cool Matrix-influenced sword fighting in the climactic encounter between Arthur and his uncle, the demon knight Vortigern – which you might want to fast-forward to.
Killer sequence: In a scene right out of the Lord of the Rings: The Return of the King, Mordred’s forces approach Camelot in their thousands, accompanied by 300-foot-tall elephants. No, really.
09. Paddington 2 (2017)
Director: Paul King
VFX: Framestore, Rodeo FX
Not only is Paddington 2 a delightful, funny and heart-warming movie – garnering 100 per cent on Rotten Tomatoes and becoming the site’s best-reviewed film of all time – it’s also a technical masterpiece. The titular hero looks photoreal in every single shot (all 1,100 of them) and is integrated with the live-action footage flawlessly; kudos to Framestore for pulling off this incredible achievement. Indeed, as a sign of the team’s dedication, one time-lapse shot of the prison canteen changing into a chintzy tea room – a combination of CG bear, CG props and live action – took nine months to complete.
But it’s one thing to make a CG creature; it’s quite another to create a performance that elicits an entire spectrum of emotions. If you don't have a tear in your eye by the end credits, you really need to see a psychiatrist. (And how long before the Best Actor Oscar goes to a CG creation?)
Killer sequence: When Paddington decides to earn money by washing windows, there’s some beautifully choreographed slapstick, and a shot in which Paddington uses himself as a window sponge. Hilarious and technically sublime.
10. Doctor Strange (2016)
Director: Scott Derrickson
VFX: Industrial Light & Magic, Framestore, Method Studios, Luma Pictures
Marvel films are like Pokémon; you have to catch ’em all (at the cinema). But seriously, this slightly left-field entry in the Marvel Comics Universe really delivered in terms of an engrossing story and a hypnotic – if slightly bewildering – visual experience.
When the story deals with dimension-hopping sorcerers, alternate worlds and time travel, you know you’re in for a wild ride and it took a number of VFX vendors to deliver the 1,450 effects shots. From glowing magical spells and particle effects to an artificially intelligent CG cape to Inception-style cityscapes folding in on themselves, Doctor Strange has it all.
Killer sequence: Stephen Strange being chased by Kaecilius (Mads Mikkelsen) through a twisting, morphing, Möbius strip of New York City – it simply begs the question: How did the hell did they do that?
11. Blade Runner 2049 (2017)
Director: Denis Villeneuve
VFX: Framestore, Double Negative, Rodeo FX
For fans of the original, it’s heart-breaking that the sequel some of us waited 35 years for has been a box-office disappointment. But that’s not for want of trying: with a production budget of $185 million, it boasts some of the most amazing, beautiful and realistic visual effects ever to grace the silver screen. The entire film is mesmerising, but highlights include the work on Joi, Ryan Gosling’s holographic girlfriend, as she interacts with the real world, plus Framestore’s amazing visualisation of the vast junkyards of San Diego, which are utterly convincing.
But once again, the star of the show is the neon-festooned cityscapes of night-time LA, beautifully envisioned by DNEG and Rodeo FX, which employed hundreds of different buildings, consisting of billions of polygons. If you didn’t see Blade Runner 2049 on a big screen, you really missed out.
Killer sequence: The drone’s-eye view of the ruins of Las Vegas is simply breathtaking (and did you spot Deckard’s car from the end of Blade Runner, abandoned on the strip?)
12. Rogue One (2016)
Director: Gareth Edwards
VFX: Industrial Light & Magic, Hybride, Ghost VFX
Arguably the best Star Wars film since Disney dropped $4 billion in George Lucas’s lap, Rogue One also delivered what Star Wars fans wanted: spaceships, likeable robots and tons of homages to the original trilogy. But, with the benefit of technology 40 years more advanced than that used on the first movie, Rogue One looks the business too.
ILM took some brave moves with the digital recreations of Grand Moff Tarkin (Peter Cushing) and a youthful Princess Leia (Carrie Fisher), which were surprisingly dodgy at times. However the VFX behemoth hit its stride with some incredible space battles and the jaw-dropping destruction of Jedha City – plus most of the surrounding terrain.
Throw in a handful of cameo appearances, and some seamless updates of X-Wing pilot footage from the '70s, and this entertaining sci-fi romp took fan service to another level.
Killer sequence: The attack on (a mostly CG) Scarif is a wonder to behold: the AT-AT walker battle on the beach, the rebel assault on the shield generator, and that bold move by a Hammerhead Corvette… (who knew Star Destroyers were so flimsy?)
13. Pearl Harbour (2001)
Director: Michael Bay
VFX: ILM
With a laboured script, leaden acting, turgid pace, and insensitive factual inaccuracies, the only reason Pearl Harbour is worth seeing is for the recreation of the infamous 1941 attack. Unbelievably, there are only four shots that are totally CG in the movie, including the two shots of the USS Arizona exploding, with the wide camera angle taking four months of constant effects work to perfect.
ILM used a combination of software for the attack sequence, including AliasStudio, Maya, and Softimage for basic modelling, and employed its proprietary software, Zeno, for the many rigid body simulations. To comply with environmental rules, VFX supervisor Eric Brevig also had to write a new piece of software to create the amount of smoke plumes needed. So while it's a dreadful film, we can't help but applaud the truly brilliant CG effects.
Killer sequence: A detailed recreation of the chillingly effective surprise attack by the Japanese on a US naval base.
14. Cloverfield (2008)
Director: Matt Reeves
VFX: Double Negative
This may be a spin-off of Godzilla, as mysterious and severely peeved creatures attack New York, but what a spin-off it is. Cloverfield is an amazing example of how to mix hand-held live-action with quality CG effects.
The most terrifying sequence happens early on, when the Statue of Liberty's head is catapulted down the road by an unknown and unseen force. Visible for several seconds in full frame, the head itself had to be built as an extremely detailed 3D model with precise texturing.
Production used 4 and 5K stills of the head that were placed online following the landmark's cleaning a few years ago. These detailed the head's panelwork and areas of grime that could be used as reference when texturing the model. The genius of JJ Abrams combined with great effects is clearly a recipe for success.
Killer sequence: The Statue of Liberty's scratched-up head comes sailing down a New York Street, hinting at the dangers to come.
15. Terminator Salvation (2009)
Director: McG
VFX: ILM, Asylum, Rising Sun Pictures and Matte World Digital
You've got to feel sorry for John Connor: his only real friend was a machine that once tried to kill him and is now dead. To his credit, though, he is very determined and returns in the fourth Terminator instalment, ready to kick more shiny metal ass. Among its 1,500 VFX shots, T4 features an impressive 60ft, headless, biped robot – the aptly named Harvester – on a rampage.
The huge cyborg has one of the film's most intricate rigs. ILM used techniques originally developed for Transformers to provide animators with extra flexibility when choosing which parts to control. ILM also integrated an energy-conserving shader set in RenderMan to achieve more accurate lighting and cope with the extreme contrasts of desert conditions. The ensuing segment with the truck, Moto-terminators and a giant Transporter isn't bad either.
Killer sequence: The headless Harvester robot smashes up a gas station in its hunt for humans.
16. 10,000 BC (2008)
Director: Roland Emmerich
VFX: Double Negative (wide shots) MPC (medium and close-up shots)
If you can ignore the script, the acting, the historical inaccuracies and the bizarre pseudo sci-fi ending, 10,000 BC is a pretty cool film, with some excellent FX work from MPC and Double Negative. The sweeping vistas over the Giza site are largely models built at 1:24 scale by Joachim Grueninger, constructed near the actual film set in Namibia, but they're enhanced with digital doubles, dust, and props.
The best sequence, however, is the stampede, where a pack of mammoths is unleashed to wreak havoc among a building site with 50,000 digital slaves. Fully CG sets integrate seamlessly with live-action and model shots and, all in all, it's a suitably epic climax for a fantastically overblown movie.
Killer sequence: A frightened pack of 50 captive mammoths is set loose in order to bring a pyramid building site to a grinding halt.
17. The Perfect Storm (2000)
Director: Wolfgang Peterson
VFX: ILM
George Clooney may be a looker, but his character in this film isn't very smart. He plays Billy Tyne, a fishing boat captain who ignores weather warnings, in a tale that's based on the true story of the Andrea Gail from 1991. The end sequence is a CGI stonker, featuring a huge 100ft wave that finally capsizes the ship. In total, the film featured 90 completely CG shots, all of which include water elements.
A further 220 shots required CG seas to be composited with live-action footage shot on a huge, moveable fishing boat set. A custom fluid dynamics system was developed to create a realistic ocean and more than 30 plug-ins were written for Maya to achieve the intricate effects.
In addition to this, standalone applications for shaders and particle systems were also written in-house. In what is otherwise a slightly disappointing film, the mammoth VFX are what leave the longest-lasting impression.
Killer sequence: A fishing boat and its crew run into a spot of bother on stormy seas.
Next page: More of the greatest CGI movie moments of all time
18. Labyrinth (1986)
Director: Jim Henson
VFX: ILM and Optical Film Effects
Although it may not be the most impressive effect today, back in 1986 this digital owl made quite a stir among cinema goers. It was the very first attempt at creating a realistic looking CGI animal, and we think the teams at ILM and Optical Film Effects did a mighty fine job. Although Jim Henson is more widely known for his puppetry skills (which were put to good use in the film), he managed to help create the computer-generated characters that would eventually replace them.
Bill Kroyer was responsible for the award-winning design; he animated and technical-directed the flying owl, which was also produced by Alan Peach. It's safe to say that being the very first fully computer-animated animal, this opening sequence would go on to have a lasting impression on the world of CGI movie history.
Killer sequence: The opening credits sees David Bowie's character Jareth the Goblin King as an owl... naturally.
19. i, Robot (2004)
Director: Alex Proyas
VFX: Weta
While the huge robot punch-up at the top of the US Robotics building provides a suitably action-packed climax to proceedings, we think it's the film's other huge robot punch-up that's the more memorable. Hurtling along a suspiciously empty tunnel in his product-placed Audi RSQ sport coupe, two ominous (and beautifully designed) container vehicles glide alongside Spooner and eject their cargo of angry androids over his car.
It's a brilliantly dynamic scene, featuring 90 shots and tons of destruction. Constructing the scene entirely in CG, including a digital Will Smith borrowed from Digital Domain, Weta used Maya for modelling, RenderMan for output, and Shake for compositing and some lighting effects.
Killer sequence: Chicago Police Detective Del Spooner is enjoying a quiet drive home in his Audi, when murderous robots attack.
20. The Day After Tomorrow (2004)
Director: Roland Emmerich
VFX: Tweak Films
There's an abundance of VFX sequences in this disaster movie, but none beat the brilliant super-sized tsunami that hits Manhattan. Only responsible for five shots in the entire film, Tweak Films pulled out all the stops on the water simulation for the sequence.
The small studio used its proprietary water system – a unified dynamics platform that includes rigid body dynamics, fluid dynamics and particle simulation – to create the ultra-realistic flood. LIDAR models and textures were used to build the city itself, meaning final shots were completely digital, and the resulting composition was a masterful mix of dozens of layers.
Killer sequence: The massive storm causes a huge tsunami to hit Manhattan.
21. Hollow Man (2000)
Director: Paul Verhoeven
VFX: Sony Pictures Imageworks (SPI)
The film boasts some 400 effects, ranging from simple tracking and bluescreen shots when Bacon's latex mask is seen to be empty, through to sophisticated effects where the invisible man's body is highlighted only by water or smoke.
That standout VFX sequence, where Bacon becomes invisible, is a marvel too. Sony's custom volume rendering system enabled the VFX crew to replicate an entire human body in detail, where all the veins and organs move and react properly to the movement of the character. Overall, Hollow Man's not Verhoeven's best effort, but the effects are great.
Killer sequence: Invisibility test subject Sebastian Caine's gradual transformation to transparency, as layers of skin, organs and bone disappear.
22. Star Wars - Episode 1 (1999)
Director: George Lucas
VFX: ILM
The Phantom Menace was, at the time, the biggest visual effects project ever undertaken. The film required 35,000 storyboards and 95 per cent of the frames have digital elements in them.
To visualise the sequence, ILM spent a year on R&D, working on physics systems for the destruction of the podracers plus an Adaptive Terrain Generator, which employed a level-of-detail system just so that its computers could hold the mesh data in memory. Despite the film's (many) flaws, the thrilling 320-shot podrace remains an undoubted highlight of the Star Wars canon and is well worth savouring.
Killer sequence: A slave boy infested with Midi-chlorians races against aliens in an 800kph hovercraft to win his freedom.
23. Avengers Assemble (2012)
Director: Joss Whedon
VFX: Weta Digital and ILM
The visual effects for Avengers Assemble were never going to let us down – from the opening credits to the epic battle scenes, this film is truly a feast for the eyes. However, it was the particular scene of a falling Iron Man suiting up in the all new Mark VII as he descended that we found most impressive.
ILM and Weta combined their talents to recreate Iron Man and this incredible sequence. ILM provided the Iron Man models, whilst Weta was responsible for creating clothes and hair for the digidoubles with their own shaders and textures. Weta used plenty of motion capture techniques, whilst the animators were responsible for the flying scenes.
Killer sequence: Iron Man jumps from Stark Tower unsuited, only for his Iron Man suit to follow and dress him with centimetres to spare.
24. District 9 (2009)
Director: Neill Blomkamp
VFX: Weta Workshop & Image Engine
With a modest budget of $30million, District 9 still manages to make it onto an array of top CGI movie lists thanks to the hard work of Weta Workshop. It takes a great design team to come up with a ship design that will stick and the mothership featured in the film pleased many a sci-fi fan. Image Engine completed 311 visual effects shots for District 9 and whilst these shots were predominantly of digital aliens, the studio also developed the mothership.
In the cases where shots required both a background ship and foreground character animation or other visual effects, Weta would pre-comp the ship and provide the completed comp to the relevant facility. You can read more about the special effects used in the film in 'The Art of District 9'.
Killer sequence: The mothership of the 'prawns' is revealed and hovers about Johannesburg, South Africa for three months.
25. Gladiator (2000)
Director: Ridley Scott
VFX: Mill Film Ltd
Rome wasn't built in a day and neither were the academy award-nominated special effects created for this epic Ridley Scott Roman tale. Visual effects supervisor John Nelson quoted that "it was always our concept to treat the Colosseum like it was the Super Bowl, in that you're going out on the field with the players and you have 40,000 people screaming for your head".
A model of the colosseum was about one storey high and didn't even complete the full circle. To recreate the 3D colosseum, Nelson and his team used the blueprints from designer Arthur Max and added a further two storeys, a roof, the outside wall, the back end of the colosseum and of course, the crowds. They photographed the textures, the patina and stucco used on the actual colosseum and then added those textures to the CGI movie version. The 540 degree camera shot in the film really shows off their skill.
Killer sequence: Maximus Meridius (Russell Crowe) fights to the death in a re-imagined colosseum.
26. Spiderman 3 (2007)
Director: Sam Raimi
VFX: SPI
This movie is packed full of knock-out effects – many of which include its other two villains, Venom and the Green Goblin – but the 2,700-frame, three-minute 'birth of Sandman' sequence manages to top them all. The Sony Pictures Imageworks team spent a year in R&D working on the tools that would enable them to fully achieve the complicated effect for Flint Marko's new form.
To visualise Sandman's varying states, they used a mixture of particle and fluid/gas simulations, plus SphereSim – a custom simulation engine that helped generate natural-looking sand piles. This technology, combined with Houdini and RenderMan plug-ins, makes the VFX sequence one of the most emotional and impressive moments of the entire trilogy.
Killer sequence: 'Unlucky' Flint Marko stumbles across the world's only experimental particle physics site, turning him into the invincible Sandman.
27. Inception (2010)
Director: Chris Nolan
VFX: Double Negative
Inception is a surreal story about dreams within dreams that keeps the audience awake with its truly masterful VFX. When architect Ariadne starts to "mess with the physics of it all" within her own dreamscape, she casually folds up Paris in one of the film's most complicated and impressive sequences.
To achieve the intricate effect, the Double Negative team spent two weeks taking thousands of stills and working from millimetre-accurate scans provided by LIDAR services to replicate a photorealistic model of four Parisian apartment blocks. Digital cars and people were also added to the upended cityscape and the Ptex mapping technique used to avoid the burden of UVs. The team also had to devise a series of cheats to fully achieve the shots needed, including hiding intersecting buildings behind other geometry and a set of careful camera moves.
Killer sequence: Ariadne gains confidence in her dreamscape and folds Paris into a cube, naturally.
Next page: More incredible VFX moments
27. Transformers: Dark of the Moon (2011)
Director: Michael Bay
VFX: ILM
Okay, okay we know the third film in the Transformers franchise isn't going to win any Oscars for plot or acting abilities, but there's no way you can ignore the hugely impressive special effects that grace the screen for much of the running time. ILM was already responsible for the previous two films, but the character of The Driller was going to test their abilities.
The robot was almost three times as big as the Transformers and it's well known among special effects teams that tentacles are one of the harder aspects to get right. Seeing as Driller was a tentacle with tentacles (with 70,051 parts!) this was a big ask. It took a staggering 288 hours per frame to render the Driller along with the photoreal CG building that includes all those reflections in its glass. ILM calculates that it added up to more than 200,000 rendering hours per day – or the equivalent of 22.8 years of render time in a 24-hour period.
Killer sequence: Driller goes on a rampage through Marina city, causing a fair bit of damage.
29. King Kong (2005)
Director: Peter Jackson
VFX: Weta
We're not sure why one, let alone three, V-Rex would be interested in eating Naomi Watts: she'd hardly make a filling meal. Nevertheless, Kong has to stop his new friend from becoming dinosaur fodder in this thrilling, 10-minute-long, CG-heavy sequence.
Weta doubled its capacity in terms of render farm and disc space, and took on roughly 25 per cent more people to create King Kong. The team used a Maya, RenderMan and Shake pipeline, and created custom software for the ape's fur. Since Ann gets thrown about, Weta also had to use a digital double for Naomi Watts in these scenes. Ultimately, this remake of the 1933 classic proves that good things also come in big packages.
Killer sequence: The mighty ape takes on three mighty V-Rex in order to protect Ann.
30. The Abyss (1989)
Director: James Cameron
VFX: Steve Johnson's XFX, Inc, ILM
This was the very first use of digitally animated water, which means it was a mile stone in CGI movie history. The aquatic aliens were the first creatures on film made entirely from water, and back in 1989 this visual effect was jaw-dropping. The 75-second sequence was divided up between seven special effects companies, but it was ILM that created the program that would simulate the watery creature with incredible realism.
The combination of live action and CG effects was levelled up as actress Mary Elizabeth Mastrantonio comes into contact with the creature – although we wouldn't recommend tasting an alien. This was a special effects milestone that helped advance the use of CGI in film for years to come.
Killer sequence: The civilian diving team come face-to-face with an alien aquatic species.
31. The Matrix (1999)
Director: Andy Wachowski, Lana Wachowski
VFX: Manex Visual Effects
Not only is The Matrix one of the greatest sci-fi creations, one particular scene has become renowned for its use of special effects within the film industry. The 'bullet-time' special effect is a time-rendered simulation that creates variable speed to show objects such as flying bullets in slow motion.
The method used for creating this effect involved a technically expanded version of an old art photography technique known as time-slice photography, in which a large number of cameras are placed around an object and triggered nearly simultaneously. When the sequence of shots is viewed, the viewer sees what is, in effect, two-dimensional 'slices' of a three-dimensional moment. It's no wonder, then, that the team went on to win an Academy award for their efforts.
Killer sequence: Neo (Keanu Reeves) dodges bullets from The Agents.
32. Lord of the Rings - The Return of the King (2003)
Director: Peter Jackson
VFX: Weta
Widely appreciated as one of the best battle scenes of all time, the battle of Pelannor Fields in the final Lord of the Rings film is jaw-droppingly impressive. Over 1,500 effects shots were used in the third film (more than the first two films combined) with the team at Weta relying on the model team and photography of the landscape to get the battle looking as realistic as possible.
Although the charging Mmakil were initially created using real life elements, Weta decided to compile them entirely digitally due to a last minute request from Peter Jackson. The elephant-like creatures were created entirely from keyframing and the team at Weta went on to win their third Oscar in three years. Not bad at all.
Killer sequence: The final battle of the Pelennor Fields.
33. Tron (1982)
Director: Steven Lisberger
VFX: MAGI
Although the original Tron didn't do particularly well at the box office thanks to competition from Blade Runner and ET, there's no denying the film was a turning point in the use of visual effects and CGI movie history. It may not have aged well but the production of Tron marked the first time that computer-generated imagery had been extensively used in a feature film.
MAGI used a SynthaVision process to create the computer graphics for the film; this process utilised basic geometric shapes that the computer recognised as solid objects with density. By varying the size and quantity of these shapes, MAGI could construct a limited variety of three-dimensional designs and animate them easily.
Interestingly, Tron was disqualified from competition for 1982's Visual Effects Oscar because computer-aided effects were considered cheating.
Killer sequence: The first glimpse of the light bikes.
34. Terminator 2 (1991)
Director: James Cameron
VFX: ILM
The effects used in Terminator 2 were the most ambitious since the 1982 release of Tron. Although the CGI scenes only take up a total of 5 minutes of the film, it took a team of 35 animators, technicians and artists ten months to create. In order to make a computer model of the face of the T-1000, ILM used laser scanning technology called Cyberscan. They projected a laser beam across the face of Robert Patrick and used video cameras to build the 3D database.
Robert's distinctive walk and run were also recorded and studied vigorously to make the T-1000 as realistic as possible. Unsurprisingly, the team went on to win the Oscar for Best Visual Effects in 1992.
Killer sequence: T-1000 emerges from an explosion, revealing his liquid metal structure.
35. Lord of the Rings - The Two Towers (2002)
Director: Peter Jackson
VFX: Weta
The creation of JRR Tolkien's vision of Gollum took over 1,000 drawings to get right, and was the very first time an actor's performance and digital animation were combined to make one lifelike CGI movie character. The Gollum head model consisted of just over 2,600 polygons, which were mostly quads. Raitt also created tools that exposed 64 control points to animation artists, who then animated Gollum into the film's scenes.
Initially, actor Andy Serkis was only supposed to voice the character. But after witnessing his extreme facial expressions, the team at Weta decided to scrap their first model and instead film Serkis, capturing the movements that way. It was a monumental moment in CG history and Serkis went on to work with the same methods while playing Caesar in Rise of the Planet of the Apes.
Killer sequence: The full realisation of Gollum.
36. Avatar (2009)
Director: James Cameron
VFX: Weta and ILM
Avatar is probably the most complex visual effects sequence created to date. So complex, in fact, that it needed the combined power of the planet's most accomplished FX houses to complete.
Apart from some bluescreen shots of live-action actors in cockpits, it's all CG: gunships, missiles, smoke trails, water, fire, an army of photorealistic virtual characters and a giant tree made of 20 million polygons with 1.2 million leaves. The detailed explosions are entirely CG too, a technique ILM pioneered with a customised version of its fluid dynamics engine. Oh, and it's all in stereoscopic 3D to boot. But despite being the product of two teams working 6,500 miles apart and on different scenes, the action intercuts between them seamlessly. Whatever you think of Cameron's magnum opus, the 200-plus shots of the hometree destruction make for a jaw-dropping sequence and a new benchmark for VFX
Killer sequence: The Omaticaya clan's deciduous condo gets a drastic makeover, courtesy of the evil Resources Development Administration.
37. Jurassic Park (1993)
Director: Steven Spielberg
VFX: ILM
Jurassic Park had potentially the biggest, most eagerly awaited reveal shot in cinematic history. To tackle the task of creating dinosaurs, ILM scanned in chunks of a model brachiosaurus to create patch meshes, then used custom program SOCK (Surface Original with Continuous sKin) developed for Terminator 2, to create an overall mesh.
A new app called Envelope was also created, enabling the underlying points to be manipulated – either by hand or driven by other geometry – thus recreating the effect of muscles beneath the skin. Both Alias PowerAnimator and Softimage Creative Environment 2.0 take credit for the animation in the movie, the latter employed because of Chain, the first commercially available IK system.
Finally, a Dinosaur Input Device (DID) was developed by Craig Hayes of Tippett Studio. Built just like a stop-motion armature, this rig translated movement into keyframes, enabling the stop-motion artists to transfer their well-honed skills into the digital realm.
Killer sequence: We finally get to see a living, breathing dinosaur – and Spielberg wrings every last second from the moment.
Some of the extracts were originally published in 3D World magazine; subscribe here.
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