John Dykstra - Revision history

Joe Beaudoin Jr.: Text replacement - "[[Category:TOS" to "{{indicator|TOS}}[[Category:TOS"

2025-07-19T21:13:45Z

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	[[Category:Former Star Trek Cast and Crew\|Dykstra, John]]		[[Category:Former Star Trek Cast and Crew\|Dykstra, John]]
	[[Category:Producers\|Dykstra, John]]		[[Category:Producers\|Dykstra, John]]
	[[Category:TOS\|Dykstra, John]]		{{indicator\|TOS}}[[Category:TOS\|Dykstra, John]]
	[[fr:{{PAGENAME}}]]		[[fr:{{PAGENAME}}]]

Joe Beaudoin Jr.: Text replacement - ""," to ",""

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	Around 1979, Dykstra left ILM to form his own state-of-the-art FX company, Apogee, Inc.		Around 1979, Dykstra left ILM to form his own state-of-the-art FX company, Apogee, Inc.

	Dykstra's first major project with Apogee was the [[Battlestar Galactica (TOS)\|original ''Battlestar Galactica'']], in which he also served as producer. Six months before any actors signed to do "[[Saga of a Star World]]", and later [[Season 1 (1978-79)\|the series]], Dykstra and his team began working on the series, creating 45 space craft, the [[Muffit]] costume, the [[Ovion]]s, as well as optic effects for the {{TOS\|Viper}}s and ''{{TOS\|Galactica}}'' herself. For "[[Saga of a Star World]]", over 300 separate FX sequences were created, beating out the number of FX sequences for ''Star Wars: A New Hope'' by 15%, prior to their re-mastering by George Lucas.<ref name="starlog aug 78">{{cite magazine\|quotes= \|last= Meyers \|first= Richard \|authorlink= \|coauthors= \|year= 1978 \|month= August \|title= Get Ready For... BATTLE STAR "GALACTICA" \|magazine=Starlog \|volume= \|issue= \|pages=52-53 \|id= \|url= \|accessdate= }}</ref> Many of these effects saw multiple reuses through the entire series run.		Dykstra's first major project with Apogee was the [[Battlestar Galactica (TOS)\|original ''Battlestar Galactica'']], in which he also served as producer. Six months before any actors signed to do "[[Saga of a Star World]]," and later [[Season 1 (1978-79)\|the series]], Dykstra and his team began working on the series, creating 45 space craft, the [[Muffit]] costume, the [[Ovion]]s, as well as optic effects for the {{TOS\|Viper}}s and ''{{TOS\|Galactica}}'' herself. For "[[Saga of a Star World]]," over 300 separate FX sequences were created, beating out the number of FX sequences for ''Star Wars: A New Hope'' by 15%, prior to their re-mastering by George Lucas.<ref name="starlog aug 78">{{cite magazine\|quotes= \|last= Meyers \|first= Richard \|authorlink= \|coauthors= \|year= 1978 \|month= August \|title= Get Ready For... BATTLE STAR "GALACTICA" \|magazine=Starlog \|volume= \|issue= \|pages=52-53 \|id= \|url= \|accessdate= }}</ref> Many of these effects saw multiple reuses through the entire series run.

	Apogee has subsequently provided FX for a variety of TV-movies and miniseries including ''Alice in Wonderland'' (CBS, 1985), ''Out On A Limb'' (ABC, 1987), from Shirley MacLaine's spacey memoir, and ''Amerika'' (ABC, 1987). The latter, set ten years after a hypothetical Soviet takeover of the US, featured a memorable sequence–courtesy of Dykstra and Company–in which the US Capitol is bombed.		Apogee has subsequently provided FX for a variety of TV-movies and miniseries including ''Alice in Wonderland'' (CBS, 1985), ''Out On A Limb'' (ABC, 1987), from Shirley MacLaine's spacey memoir, and ''Amerika'' (ABC, 1987). The latter, set ten years after a hypothetical Soviet takeover of the US, featured a memorable sequence–courtesy of Dykstra and Company–in which the US Capitol is bombed.

Joe Beaudoin Jr.: Text replacement - "s]]'s" to "s]]{{'}}"

2024-02-17T16:53:36Z

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	One of the leading figures in modern film special visual effects, John Dykstra may be most important for his contribution to the unprecedented level of "realism" achieved in such 1970s sci-fi landmarks as ''[[Wikipedia:Silent running\|Silent Running]]'' (1971) and ''[[Wikipedia:Star_Wars_Episode_IV:_A_New_Hope\|Star Wars]]'' (1977). He learned much of his craft collaborating with the legendary [[w:Douglas Trumbull\|Douglas Trumbull]] at his [[w:Trumbull Film Effects\|Trumbull Film Effects]]. Dykstra was a special effects cameraman and industrial designer working on the intricate space stations required for Trumbull's ''Silent Running''. After a hiatus from entertainment projects, he re-teamed with Trumbull, at the latter's Future General Company, to work on various projects including commercials, theme park attractions and experiments in three-dimensional film-making effects.		One of the leading figures in modern film special visual effects, John Dykstra may be most important for his contribution to the unprecedented level of "realism" achieved in such 1970s sci-fi landmarks as ''[[Wikipedia:Silent running\|Silent Running]]'' (1971) and ''[[Wikipedia:Star_Wars_Episode_IV:_A_New_Hope\|Star Wars]]'' (1977). He learned much of his craft collaborating with the legendary [[w:Douglas Trumbull\|Douglas Trumbull]] at his [[w:Trumbull Film Effects\|Trumbull Film Effects]]. Dykstra was a special effects cameraman and industrial designer working on the intricate space stations required for Trumbull's ''Silent Running''. After a hiatus from entertainment projects, he re-teamed with Trumbull, at the latter's Future General Company, to work on various projects including commercials, theme park attractions and experiments in three-dimensional film-making effects.

	Dykstra subsequently served as the first head of [[Wikipedia:Industrial Light and Magic\|Industrial Light and Magic]], [[Wikipedia:George Lucas\|George Lucas]]'s FX company, supervising visual effects photography for ''Star Wars''. Dykstra demonstrated a distinctive flair for designing and photographing complex models and miniatures with such painstaking attention to scale that he could create a convincing illusion of great size and mass.		Dykstra subsequently served as the first head of [[Wikipedia:Industrial Light and Magic\|Industrial Light and Magic]], [[Wikipedia:George Lucas\|George Lucas]]{{'}} FX company, supervising visual effects photography for ''Star Wars''. Dykstra demonstrated a distinctive flair for designing and photographing complex models and miniatures with such painstaking attention to scale that he could create a convincing illusion of great size and mass.

	The memorable opening images of ''Star Wars'', in which immense and multifaceted ships pass over the camera, qualifies as classic Dykstra. He shared a richly deserved Oscar for Best Visual Effects for his efforts (beating out the FX team headed by his mentor Trumbull on ''[[Wikipedia:Close Encounters of the Third Kind\|Close Encounters Of The Third Kind]]''). Dykstra received another memento from the Academy that year–a Class II Academy Technical Award for the invention and development of the Dystraflex Camera, an important tool in the craft of motion control photography.		The memorable opening images of ''Star Wars'', in which immense and multifaceted ships pass over the camera, qualifies as classic Dykstra. He shared a richly deserved Oscar for Best Visual Effects for his efforts (beating out the FX team headed by his mentor Trumbull on ''[[Wikipedia:Close Encounters of the Third Kind\|Close Encounters Of The Third Kind]]''). Dykstra received another memento from the Academy that year–a Class II Academy Technical Award for the invention and development of the Dystraflex Camera, an important tool in the craft of motion control photography.

Joe Beaudoin Jr.: Text replacement - "Viper" to "{{TOS|Viper}}"

2021-09-26T00:52:39Z

Text replacement - "Viper" to "{{TOS|Viper}}"

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	Around 1979, Dykstra left ILM to form his own state-of-the-art FX company, Apogee, Inc.		Around 1979, Dykstra left ILM to form his own state-of-the-art FX company, Apogee, Inc.

	Dykstra's first major project with Apogee was the [[Battlestar Galactica (TOS)\|original ''Battlestar Galactica'']], in which he also served as producer. Six months before any actors signed to do "[[Saga of a Star World]]", and later [[Season 1 (1978-79)\|the series]], Dykstra and his team began working on the series, creating 45 space craft, the [[Muffit]] costume, the [[Ovion]]s, as well as optic effects for the ~~[[Viper (~~TOS)\|Viper]]s and ''{{TOS\|Galactica}}'' herself. For "[[Saga of a Star World]]", over 300 separate FX sequences were created, beating out the number of FX sequences for ''Star Wars: A New Hope'' by 15%, prior to their re-mastering by George Lucas.<ref name="starlog aug 78">{{cite magazine\|quotes= \|last= Meyers \|first= Richard \|authorlink= \|coauthors= \|year= 1978 \|month= August \|title= Get Ready For... BATTLE STAR "GALACTICA" \|magazine=Starlog \|volume= \|issue= \|pages=52-53 \|id= \|url= \|accessdate= }}</ref> Many of these effects saw multiple reuses through the entire series run.		Dykstra's first major project with Apogee was the [[Battlestar Galactica (TOS)\|original ''Battlestar Galactica'']], in which he also served as producer. Six months before any actors signed to do "[[Saga of a Star World]]", and later [[Season 1 (1978-79)\|the series]], Dykstra and his team began working on the series, creating 45 space craft, the [[Muffit]] costume, the [[Ovion]]s, as well as optic effects for the {{TOS\|Viper}}s and ''{{TOS\|Galactica}}'' herself. For "[[Saga of a Star World]]", over 300 separate FX sequences were created, beating out the number of FX sequences for ''Star Wars: A New Hope'' by 15%, prior to their re-mastering by George Lucas.<ref name="starlog aug 78">{{cite magazine\|quotes= \|last= Meyers \|first= Richard \|authorlink= \|coauthors= \|year= 1978 \|month= August \|title= Get Ready For... BATTLE STAR "GALACTICA" \|magazine=Starlog \|volume= \|issue= \|pages=52-53 \|id= \|url= \|accessdate= }}</ref> Many of these effects saw multiple reuses through the entire series run.

	Apogee has subsequently provided FX for a variety of TV-movies and miniseries including ''Alice in Wonderland'' (CBS, 1985), ''Out On A Limb'' (ABC, 1987), from Shirley MacLaine's spacey memoir, and ''Amerika'' (ABC, 1987). The latter, set ten years after a hypothetical Soviet takeover of the US, featured a memorable sequence–courtesy of Dykstra and Company–in which the US Capitol is bombed.		Apogee has subsequently provided FX for a variety of TV-movies and miniseries including ''Alice in Wonderland'' (CBS, 1985), ''Out On A Limb'' (ABC, 1987), from Shirley MacLaine's spacey memoir, and ''Amerika'' (ABC, 1987). The latter, set ten years after a hypothetical Soviet takeover of the US, featured a memorable sequence–courtesy of Dykstra and Company–in which the US Capitol is bombed.

Joe Beaudoin Jr.: Text replacement - "Galactica" to "{{TOS|Galactica}}"

2020-09-08T01:09:22Z

Text replacement - "Galactica" to "{{TOS|Galactica}}"

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	Around 1979, Dykstra left ILM to form his own state-of-the-art FX company, Apogee, Inc.		Around 1979, Dykstra left ILM to form his own state-of-the-art FX company, Apogee, Inc.

	Dykstra's first major project with Apogee was the [[Battlestar Galactica (TOS)\|original ''Battlestar Galactica'']], in which he also served as producer. Six months before any actors signed to do "[[Saga of a Star World]]", and later [[Season 1 (1978-79)\|the series]], Dykstra and his team began working on the series, creating 45 space craft, the [[Muffit]] costume, the [[Ovion]]s, as well as optic effects for the [[Viper (TOS)\|Viper]]s and ''~~[[Galactica (~~TOS)\|Galactica]]'' herself. For "[[Saga of a Star World]]", over 300 separate FX sequences were created, beating out the number of FX sequences for ''Star Wars: A New Hope'' by 15%, prior to their re-mastering by George Lucas.<ref name="starlog aug 78">{{cite magazine\|quotes= \|last= Meyers \|first= Richard \|authorlink= \|coauthors= \|year= 1978 \|month= August \|title= Get Ready For... BATTLE STAR "GALACTICA" \|magazine=Starlog \|volume= \|issue= \|pages=52-53 \|id= \|url= \|accessdate= }}</ref> Many of these effects saw multiple reuses through the entire series run.		Dykstra's first major project with Apogee was the [[Battlestar Galactica (TOS)\|original ''Battlestar Galactica'']], in which he also served as producer. Six months before any actors signed to do "[[Saga of a Star World]]", and later [[Season 1 (1978-79)\|the series]], Dykstra and his team began working on the series, creating 45 space craft, the [[Muffit]] costume, the [[Ovion]]s, as well as optic effects for the [[Viper (TOS)\|Viper]]s and ''{{TOS\|Galactica}}'' herself. For "[[Saga of a Star World]]", over 300 separate FX sequences were created, beating out the number of FX sequences for ''Star Wars: A New Hope'' by 15%, prior to their re-mastering by George Lucas.<ref name="starlog aug 78">{{cite magazine\|quotes= \|last= Meyers \|first= Richard \|authorlink= \|coauthors= \|year= 1978 \|month= August \|title= Get Ready For... BATTLE STAR "GALACTICA" \|magazine=Starlog \|volume= \|issue= \|pages=52-53 \|id= \|url= \|accessdate= }}</ref> Many of these effects saw multiple reuses through the entire series run.

	Apogee has subsequently provided FX for a variety of TV-movies and miniseries including ''Alice in Wonderland'' (CBS, 1985), ''Out On A Limb'' (ABC, 1987), from Shirley MacLaine's spacey memoir, and ''Amerika'' (ABC, 1987). The latter, set ten years after a hypothetical Soviet takeover of the US, featured a memorable sequence–courtesy of Dykstra and Company–in which the US Capitol is bombed.		Apogee has subsequently provided FX for a variety of TV-movies and miniseries including ''Alice in Wonderland'' (CBS, 1985), ''Out On A Limb'' (ABC, 1987), from Shirley MacLaine's spacey memoir, and ''Amerika'' (ABC, 1987). The latter, set ten years after a hypothetical Soviet takeover of the US, featured a memorable sequence–courtesy of Dykstra and Company–in which the US Capitol is bombed.

Joe Beaudoin Jr.: Text replacement - "
" to "{{reflist}}"

2020-04-18T19:37:56Z

Text replacement - "<div style="font-size:85%"><references/></div>" to "{{reflist}}"

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	== References ==		== References ==

	~~<div style="font-size:85%"><references/></div>~~		{{reflist}}

	{{quality candidate}}		{{quality candidate}}

LIMAFOX76: Adding FR link

2019-10-28T11:44:08Z

Adding FR link

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	[[Category:Producers\|Dykstra, John]]		[[Category:Producers\|Dykstra, John]]
	[[Category:TOS\|Dykstra, John]]		[[Category:TOS\|Dykstra, John]]
			[[fr:{{PAGENAME}}]]

Brnocesar at 19:50, 9 May 2012

2012-05-09T19:50:08Z

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	'''John Dykstra''' (born 3 June 1947) was a producer and Visual Effects Supervisor on the [[Battlestar Galactica (TOS)\|original ''Battlestar Galactica'']]. Prior to ''Galactica'', he is well known for his work on ''[[w:Star Wars: A New Hope\|Star Wars: A New Hope]]'', and later for his work in 2002's ''[[w:Spider-Man (movie)\|Spider-Man]]''.		'''John Dykstra''' (born 3 June 1947) was a producer and Visual Effects Supervisor on the [[Battlestar Galactica (TOS)\|original ''Battlestar Galactica'']]. Prior to ''Galactica'', he is well known for his work on ''[[w:Star Wars: A New Hope\|Star Wars: A New Hope]]'', and later for his work in 2002's ''[[w:Spider-Man (movie)\|Spider-Man]]''.

	One of the leading figures in modern film special visual effects, John Dykstra may be most important for his contribution to the unprecedented level of "realism" achieved in such 1970s sci-fi landmarks as ''[[Wikipedia:Silent running\|Silent Running]]'' (1971) and ''[[Wikipedia:~~Star Wars~~\|Star Wars]]'' (1977). He learned much of his craft collaborating with the legendary [[w:Douglas Trumbull\|Douglas Trumbull]] at his [[w:Trumbull Film Effects\|Trumbull Film Effects]]. Dykstra was a special effects cameraman and industrial designer working on the intricate space stations required for Trumbull's ''Silent Running''. After a hiatus from entertainment projects, he re-teamed with Trumbull, at the latter's Future General Company, to work on various projects including commercials, theme park attractions and experiments in three-dimensional film-making effects.		One of the leading figures in modern film special visual effects, John Dykstra may be most important for his contribution to the unprecedented level of "realism" achieved in such 1970s sci-fi landmarks as ''[[Wikipedia:Silent running\|Silent Running]]'' (1971) and ''[[Wikipedia:Star_Wars_Episode_IV:_A_New_Hope\|Star Wars]]'' (1977). He learned much of his craft collaborating with the legendary [[w:Douglas Trumbull\|Douglas Trumbull]] at his [[w:Trumbull Film Effects\|Trumbull Film Effects]]. Dykstra was a special effects cameraman and industrial designer working on the intricate space stations required for Trumbull's ''Silent Running''. After a hiatus from entertainment projects, he re-teamed with Trumbull, at the latter's Future General Company, to work on various projects including commercials, theme park attractions and experiments in three-dimensional film-making effects.

	Dykstra subsequently served as the first head of [[Wikipedia:Industrial Light and Magic\|Industrial Light and Magic]], [[Wikipedia:George Lucas\|George Lucas]]'s FX company, supervising visual effects photography for ''Star Wars''. Dykstra demonstrated a distinctive flair for designing and photographing complex models and miniatures with such painstaking attention to scale that he could create a convincing illusion of great size and mass.		Dykstra subsequently served as the first head of [[Wikipedia:Industrial Light and Magic\|Industrial Light and Magic]], [[Wikipedia:George Lucas\|George Lucas]]'s FX company, supervising visual effects photography for ''Star Wars''. Dykstra demonstrated a distinctive flair for designing and photographing complex models and miniatures with such painstaking attention to scale that he could create a convincing illusion of great size and mass.

JubalHarshaw: Sortkey and Hutch

2009-03-24T03:04:44Z

Sortkey and Hutch

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	\| image=bsg-jd.jpg		\| image=bsg-jd.jpg
	\| role=Producer<br/>Visual Effects Supervisor		\| role=Producer<br/>Visual Effects Supervisor
	\| series=[[TOS]]		\| series=TOS
	\| born_month= 6		\| born_month= 6
	\| born_day= 3		\| born_day= 3
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	\| nationality=US		\| nationality=US
	\| imdb=0004375		\| imdb=0004375
			\| sortkey= Dykstra, John
	}}		}}

JubalHarshaw: quality article candidate

2007-05-20T06:03:43Z

quality article candidate

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	<div style="font-size:85%"><references/></div>		<div style="font-size:85%"><references/></div>

			{{quality candidate}}

	[[Category:A to Z\|Dykstra, John]]		[[Category:A to Z\|Dykstra, John]]

← Older revision		Revision as of 16:53, 17 February 2024
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	One of the leading figures in modern film special visual effects, John Dykstra may be most important for his contribution to the unprecedented level of "realism" achieved in such 1970s sci-fi landmarks as ''[[Wikipedia:Silent running\|Silent Running]]'' (1971) and ''[[Wikipedia:Star_Wars_Episode_IV:_A_New_Hope\|Star Wars]]'' (1977). He learned much of his craft collaborating with the legendary [[w:Douglas Trumbull\|Douglas Trumbull]] at his [[w:Trumbull Film Effects\|Trumbull Film Effects]]. Dykstra was a special effects cameraman and industrial designer working on the intricate space stations required for Trumbull's ''Silent Running''. After a hiatus from entertainment projects, he re-teamed with Trumbull, at the latter's Future General Company, to work on various projects including commercials, theme park attractions and experiments in three-dimensional film-making effects.		One of the leading figures in modern film special visual effects, John Dykstra may be most important for his contribution to the unprecedented level of "realism" achieved in such 1970s sci-fi landmarks as ''[[Wikipedia:Silent running\|Silent Running]]'' (1971) and ''[[Wikipedia:Star_Wars_Episode_IV:_A_New_Hope\|Star Wars]]'' (1977). He learned much of his craft collaborating with the legendary [[w:Douglas Trumbull\|Douglas Trumbull]] at his [[w:Trumbull Film Effects\|Trumbull Film Effects]]. Dykstra was a special effects cameraman and industrial designer working on the intricate space stations required for Trumbull's ''Silent Running''. After a hiatus from entertainment projects, he re-teamed with Trumbull, at the latter's Future General Company, to work on various projects including commercials, theme park attractions and experiments in three-dimensional film-making effects.

	Dykstra subsequently served as the first head of [[Wikipedia:Industrial Light and Magic\|Industrial Light and Magic]], [[Wikipedia:George Lucas\|George Lucas]]'s FX company, supervising visual effects photography for ''Star Wars''. Dykstra demonstrated a distinctive flair for designing and photographing complex models and miniatures with such painstaking attention to scale that he could create a convincing illusion of great size and mass.		Dykstra subsequently served as the first head of [[Wikipedia:Industrial Light and Magic\|Industrial Light and Magic]], [[Wikipedia:George Lucas\|George Lucas]]{{'}} FX company, supervising visual effects photography for ''Star Wars''. Dykstra demonstrated a distinctive flair for designing and photographing complex models and miniatures with such painstaking attention to scale that he could create a convincing illusion of great size and mass.

	The memorable opening images of ''Star Wars'', in which immense and multifaceted ships pass over the camera, qualifies as classic Dykstra. He shared a richly deserved Oscar for Best Visual Effects for his efforts (beating out the FX team headed by his mentor Trumbull on ''[[Wikipedia:Close Encounters of the Third Kind\|Close Encounters Of The Third Kind]]''). Dykstra received another memento from the Academy that year–a Class II Academy Technical Award for the invention and development of the Dystraflex Camera, an important tool in the craft of motion control photography.		The memorable opening images of ''Star Wars'', in which immense and multifaceted ships pass over the camera, qualifies as classic Dykstra. He shared a richly deserved Oscar for Best Visual Effects for his efforts (beating out the FX team headed by his mentor Trumbull on ''[[Wikipedia:Close Encounters of the Third Kind\|Close Encounters Of The Third Kind]]''). Dykstra received another memento from the Academy that year–a Class II Academy Technical Award for the invention and development of the Dystraflex Camera, an important tool in the craft of motion control photography.

← Older revision		Revision as of 19:50, 9 May 2012
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	'''John Dykstra''' (born 3 June 1947) was a producer and Visual Effects Supervisor on the [[Battlestar Galactica (TOS)\|original ''Battlestar Galactica'']]. Prior to ''Galactica'', he is well known for his work on ''[[w:Star Wars: A New Hope\|Star Wars: A New Hope]]'', and later for his work in 2002's ''[[w:Spider-Man (movie)\|Spider-Man]]''.		'''John Dykstra''' (born 3 June 1947) was a producer and Visual Effects Supervisor on the [[Battlestar Galactica (TOS)\|original ''Battlestar Galactica'']]. Prior to ''Galactica'', he is well known for his work on ''[[w:Star Wars: A New Hope\|Star Wars: A New Hope]]'', and later for his work in 2002's ''[[w:Spider-Man (movie)\|Spider-Man]]''.

	One of the leading figures in modern film special visual effects, John Dykstra may be most important for his contribution to the unprecedented level of "realism" achieved in such 1970s sci-fi landmarks as ''[[Wikipedia:Silent running\|Silent Running]]'' (1971) and ''[[Wikipedia:~~Star Wars~~\|Star Wars]]'' (1977). He learned much of his craft collaborating with the legendary [[w:Douglas Trumbull\|Douglas Trumbull]] at his [[w:Trumbull Film Effects\|Trumbull Film Effects]]. Dykstra was a special effects cameraman and industrial designer working on the intricate space stations required for Trumbull's ''Silent Running''. After a hiatus from entertainment projects, he re-teamed with Trumbull, at the latter's Future General Company, to work on various projects including commercials, theme park attractions and experiments in three-dimensional film-making effects.		One of the leading figures in modern film special visual effects, John Dykstra may be most important for his contribution to the unprecedented level of "realism" achieved in such 1970s sci-fi landmarks as ''[[Wikipedia:Silent running\|Silent Running]]'' (1971) and ''[[Wikipedia:Star_Wars_Episode_IV:_A_New_Hope\|Star Wars]]'' (1977). He learned much of his craft collaborating with the legendary [[w:Douglas Trumbull\|Douglas Trumbull]] at his [[w:Trumbull Film Effects\|Trumbull Film Effects]]. Dykstra was a special effects cameraman and industrial designer working on the intricate space stations required for Trumbull's ''Silent Running''. After a hiatus from entertainment projects, he re-teamed with Trumbull, at the latter's Future General Company, to work on various projects including commercials, theme park attractions and experiments in three-dimensional film-making effects.

	Dykstra subsequently served as the first head of [[Wikipedia:Industrial Light and Magic\|Industrial Light and Magic]], [[Wikipedia:George Lucas\|George Lucas]]'s FX company, supervising visual effects photography for ''Star Wars''. Dykstra demonstrated a distinctive flair for designing and photographing complex models and miniatures with such painstaking attention to scale that he could create a convincing illusion of great size and mass.		Dykstra subsequently served as the first head of [[Wikipedia:Industrial Light and Magic\|Industrial Light and Magic]], [[Wikipedia:George Lucas\|George Lucas]]'s FX company, supervising visual effects photography for ''Star Wars''. Dykstra demonstrated a distinctive flair for designing and photographing complex models and miniatures with such painstaking attention to scale that he could create a convincing illusion of great size and mass.