7 November 2014


Director: Chris Nolan
Science Advisor and Executive Producer: Professor Kip Thorne
Film Company: Paramount Pictures (US) / Warner Bros. (UK)
VFX Supervisors: Paul Franklin and Andy Lockley
VFX Producer: Ann Podlozny
CG Supervisors: Eugénie von Tunzelmann and Dan Neal
2D Supervisor: Julia Reinhard Nendick
Chief Scientist: Oliver James

With our time on Earth coming to an end, a team of explorers undertakes the most important mission in human history; traveling beyond this galaxy to discover whether mankind has a future among the stars.

“it’s no surprise that the film won this year’s Academy Award for Best Visual Effects. The “Interstellar” visual effects team truly pushed the boundaries of reality, vividly expanding our perception of the future — and what lies beyond our planet.”
Siggraph.org – Interstellar – Bridging Art and Science

Our Dneg crew, led by Overall VFX Supervisor Paul Franklin and Dneg VFX Supervisor Andy Lockley were tasked with the challenge of accurately depicting the film’s wormhole, its supermassive black hole (Gargantua), the Tesseract (a four dimensional space allowing time to be seen as a physical dimension), digital space vistas for projection on-set (no greenscreen was used in any of the space sequences), robots TARS and CASE and the population of alien worlds with giant waves and landscapes of frozen cloud and ice.

“In Christopher Nolan’s Interstellar, visual effects supervisor Paul Franklin and the team at Double Negative were asked to produce images of things that aren’t even in our dimension, and furthermore have them accurate to not only quantum physics and relativistic laws but also our best understanding (guess) of quantum gravity.”
FX Guide – Inside the Black Art

It was important that our work was scientifically accurate and Science Advisor and Executive Producer Professor Kip Thorne worked closely with our R&D Team led by Chief Scientist Oliver James along with CG Supervisor Eugénie von Tunzelmann to ensure our work was grounded in actual science.  For Gargantua, a new relativistic renderer (Double Negative General Relativity – DnGR) was created which produced compelling imagery based directly on Professor Thorne’s own equations. The majority of Interstellar’s VFX shots were completed in 65mm IMAX at a resolution of 5616×4096 pixels.

Interstellar Featurette – Building a Black Hole


Online Press

Wired: Wrinkles in Space Time The Warped Astrophysics of Interstellar
Dazed Digital: How to Film Interstellar
FX Guide: Inside the Black Art
FX Guide Podcast:  Paul Franklin on Interstellar (free download)
Daily Telegraph:  Behind the VFX http://www.telegraph.co.uk/culture/film/film-news/11274246/Interstellar-behind-the-VFX.html
Space.com:  Interstellar Visions
UniverseToday.com: The Physics behind Interstellar’s Visual Effects was so good, it led to a scientific discovery
Below The Line:  Contender – Paul Franklin, Visual Effects Supervisor
Siggraph.org:  Interstellar – Bridging Art and Science