I have tried to reconstruct the original AIFX site as accurately as Tony created them. Some images were lost and I have been unable to find them. While other images seem to have been found on other sites and I can re-incorporate them in this site. I haven't changed the content. Basically, I have fixed whatever depreciated html code was there and removed the now dead email links.

I'll use this page to add any useful information about these pages.

An article I found by Tony:

AM2K Stereo Camera Tutorial: Camera Variables
by Tony Alderson

This is my first "fix" on the reconstructed site. The top pic was not on the archive site but I found it on the The Landsraad, a great DUNE fan site.
Anyway, as I created this shot I admit it was quite an annoying scene to complete successfully! The water was made in LightWave and then rendered as a sequence, which was then composited as background. You can't tell from a still, but during this long shot the camera made a pan around to face the water. And trying to duplicate - by hand - a camera move was a constant source of frustration. But that's all part of the job. It took about separate (but not consecutive) 30 days, after many tries, to finally get it right.

This page had both pictures missing and I hope I have replaced the images correctly. Once again I took the pics from The Landsraad archives.
I recall Tony putting this shot together. It was another really difficult one and Tony (as usual) rose to the occasion. This was one of those scenes in which the infamous TransLites really didn't quite blend in well. Where they did work was with interiors. However, in the "exteriors", the real sand and the picture of sand just didn't like each other. So, Tony used a new desert background and worked very hard to blend it in with the real sand set. Then added a Thopter (which also helped cover up the real vs fake edges) which was created by the swell guys at Area 51. As Tony mentions on the page, there was alot of "footprint removal". He didn't complain too much while doing it, but having dealt with compositing over sand, I can tell you, it ain't easy. As was the usual case, Tony did an excellent job on this shot, making it much better than it was originally conceived.