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In 2017, Guillaume Rocheron explained his work on GHOST IN THE SHELL. Today he tells us about his reunion with Godzilla for GODZILLA: KING OF THE MONSTERS.

How did you get involved on this show?
After being involved in Gareth Edward’s 2014 GODZILLA, Legendary invited me to meet with director Michael Dougherty when they were crewing up for KING OF THE MONSTERS.

What was your feeling to be back on the Godzilla universe?
It was very exciting because you don’t often get to work on a movie in which the title character is brought to life with visual effects. And with the addition of Ghidorah, Mothra and Rodan it was a great honor to bring such iconic characters and their long legacy into the 21st century.

How was the collaboration with director Michael Dougherty?
Mike is a huge Godzilla fan and has an immense respect fort the creatures and knows everything about their history. It made for a great collaboration when we were designing the shots and sequences and throughout post-production as we were crafting the performances and look of the shots.

What was his expectations and approach about the visual effects?
Mike’s mantra was that we needed to portrait the creatures as ancient gods, mythical beings. That had to show in the performances of the creatures that couldn’t be just rampaging monsters and in the look of the shots, where we took a lot of inspiration from Renaissance paintings of Greek mythology.

How did you organize the work with your VFX Producer, Maricel Pagulayan?
Maricel and I always looked into optimizing our workflow and how to assign the work in the most logical way in order to maximize the look development of the film. The environments and character assets were generally complex so we wanted to avoid too much crossover between vendors. We ended up sharing Mothra and Godzilla between MPC, DNEG and Method Studios but they developed those creatures in very different environments so it made complete sense.

Can you tell us more about the previs and postvis process?
Most locations were un-filmable or fictional and we obviously had giant creatures throughout so we tackled the movie very much as a hybrid live-action and virtual production. Because of the nature of the movie we did a huge amount of visualization that we basically treated as our blocking version of each shot with locked lensing, composition, blocking performances, lighting etc… We had quite a large team split between The Third Floor and Day4Nite. Along with their supervisor, we managed to make a lot of creative decisions upfront by involving myself, Mike the director, Lawrence Sher the DP and Zack Shields the co-writter in the process. It allowed us to understand the how the live action will fit in the full picture, how the bioluminescence of the creatures would affect the actor etc. In post, each vendor ingested the previs in their pipeline and used it to create their version 1 of each shot and start to plus the animation, lighting etc. instead of having to design from scratch.

How did you use your experience on the previous GODZILLA on this new one?
The first GODZILLA prepared me for the specificity of creating shots with giant creatures. The human point of view helps with the scale but there were many other tricks to convey scale without making the creatures move incredibly slow. The creature’s scale also meant that each shot would always require a tremendous amount of FX interactive elements between the creature, their environment and the natural elements such as rain and snow. We often used FX elements to show their relationship to gravity which is great visual indicator of scale. But that meant a lot of FX layers in every single shot. With over 3000 FX tasks, MPC assembled their largest FX team to date on a movie with almost 100 FX TDs.

What are the main changes with the Godzilla character?
Cosmetically, Mike wanted to change the dorsal spikes to be closer to the traditional star shape. We also update the proportion ever so slightly to allow for more aggressive body poses. Under the hood, MPC’s Character Lab made some significant advances with the details and subtleties of their facial rigs and eyes which was key in order to convey the creature’s personality without having to over animate them. Also, since we did the first movie, rendering has switched to path tracing instead of REYES which gave us much greater materials and lighting details and accuracy.

Can you explain in detail about the creation of this massive character?
The challenge was to make giant fantastical and non-anthropomorphic creatures emote realistically and looks like they belong to nature, in terms of their look and their motion. We tried to base all the textures and materials on real animals so our Titans would feel authentic. Their scale required the artists to put an incredible amount of details in each body part; from a human perspective, Godzilla’s nails are probably the size of a school bus so you have to make sure that each nail could hold up full frame on an IMAX screen.

The titans are really big. How does that affect the animation and lighting work?
There is a lot to factor in to never betray the scale but we found you can get motion that is quite fast as long as you have enough time to show its acceleration and deceleration. The camera work and the framing play a huge part in successfully making those creatures feel big. With lighting, the size is actually quite a fun thing to play with compositionally because you can play with a lot of intensity variations from cloud shadows, artificial light source falloffs etc..

Can you tell us more about the animation work, especially for Ghidorah?
Ghidorah was a unique challenge because each of his 3 heads has a different personality. From a performance standpoint, we studied wolf packs and we found that wolves generally revolve around their alpha. So we decided to introduce that in how the heads would move around each other. We also did some mocap studies at MPC and got some really interesting results by getting 3 actors to walk alongside each other and retarget their torso and head motion to the individual necks and heads. The goal wasn’t to produce fluid final motion but it showed us how 3 different brains perform the same action at the same time. Technically, MPC had to rework some of their rigging pipeline to allow 3 different facial rigs on the same characters, but also 3 necks, 2 tails and a set of wings.

Did you receive specific indications and references for the animations?
We studied a lot of animal references. Wolves, bears, crocodiles… To help inject personality and attitude for Godzilla and Ghidorah’s different heads, we did a couple of days of performance capture shoot with actors for each creature. TJ Storm played Godzilla, while Jason Liles played Ghidorah’s alpha center head, Richard Dorton played Ghidorah’s aggressive right head and Alan Maxon Ghidorah’s crazy left head. We were not looking to get any sort of mocap retargeted onto the monsters, like the modern version of the man in the suit, but we used the facial expressions and some of the body language as references for the animation team to inject a hint of human personality in select moments. It was a key to help our animators make our creatures realistic but also the heroes of the movie, the ancient gods that you want your audience to root for.

How did you handle the challenges of the size differences with the humans and the titans?
The complicated part was the framing of our human elements to allow for the titans to fit in the frame later on. With some of the creatures emitting bioluminescence or lightning, it was another element we had to get right. That’s where our previs became very important for the shoot so we could not only create eyelines for the actors and position localized light sources correctly but also ensure the physical camera had the correct amount of tilt and that its movement would work in relationship with the creatures. Lawrence Sher, the DP, used LED screens on which we could display sequences of colors and movement to emulate the titans bioluminescence.

How did you work with the SFX team?
Ghidorah creates his own weather system which means our actors had to be in the elements… a lot! Rain, snow, wind you name it… Eric Frazier, our SFX Supervisor did an amazing job at creating all of these. We shot most of the movie on soundstages or backlots so it all had to be created. Early on, we agreed that we would put as much practical elements as we could instead of protecting blue screens too much and attemps to add it in post. It helped the photography massively. For the Antartica scene for example, Eric scattered 170,000 pounds of espom salt on the ground to create the snowy field. Because we needed extreme winds, he used 3 special fans originally designed by his father, John Frazier, that were basically jet engines blasting winds up to 100mph. On top, Eric had to add a couple of gas-powered fans to could generate 70mph winds. Every scene was pretty much full on so we had to collaborate very closely to find out how to achieve the final look. There are a lot of flying vehicles in the film so on top of the natural elements, Eric had 2 motion-base: one programmable 16,000 pounds we would use for the F-22 fighter jet buck and another 100,000 pounds for the large Osprey buck. From our previs, we extracted the motion of the jets to Kuper data and programmed the movement of the motion base for each shot.

Can you elaborate about your approach and your work on this final battle in Boston?
Except 2 shots in the film, Boston is completely digital. The main reason behind that is that as soon as we are within Ghidorah’s storm, the lighting scheme is very stylized and unusual; impossible to us generate such lighting practically at the scale of a city. So we shot our actors on partial sets on a backlot in Atlanta and generated everything else digitally from there. We worked our previs out of a very simple model of the city, built from satellite imagery. Once we knew where the action took place, we sent a visual team led by Sepp Sonntag to photograph and scan the key sections of the city for our sequence. MPC built a full downtown Boston out of 50,000 photographs.

How did you split the work amongst the various VFX vendors?
MPC, led by Bob Winter and Spencer Cook for animation, was our main character animation facility and did most of the battle scenes with approximatively 635 shots. They created assets for Godzilla, Ghidorah, Rodan and Mothra as well as fully digital environment for Antartica, Isla de Mara, cloudscapes and stormy oceans for the Rodan aerial chase and a complete digital recreation of Boston for the 3rd act.

For the underwater scene and the destruction of Washington DC, we naturally went to DNEG because the complexity and scale of the environment and FX work. Brian Connor and his team had a big design with designing a sunken city from an old, forgotten civilization. DNEG also did all the vignettes of Titans awakening around the world as well as Mothra’s reveal behind the waterfall and when she appears over the ocean. These shots were creatively complicated because we had to find a satisfying balance of realism and surreal beauty.

Method Studios, led by Daryl Sawchuk, did the opening scene of the film, when we first see Mothra as a larva as well as the underwater base interior and exterior and the first encounter with Godzilla from the underwater base which required some one of look development.

Rodeo FX, led by Peter Nofz, did the ice cavern sequence, with Ghidorah trapped in the icewall and its destruction.

Yabin Morales and his team at Ollin VFX did a large number of shots, ranging from simple 2D fixes to CG clouds flythrough for the Argo scenes and timelapses of San Francisco and Las Vegas.

Last, Raynault VFX did the Mothra temple establisher at the start of the film and Savage VFX a few 2D fixes for some maps and screens.

Can you tell us more about your collaboration with their VFX supervisors?
I am a strong believer that a great team is what makes great work. I had very collaborative relationship with all our VFX and animation supervisors. Because we had the shots precisely planned from the previs stage, it gave everybody some solid creative foundation and confidence that their work to build upon it was going to end up in the movie. Of course, we were always open to our supervisors pitching ideas they thought would work best and I think everybody enjoyed the process.

Are there any other invisible effects you want to reveal to us?
There are a lot of computer screens in the movie and we decided to them practically instead of filling them in post. Rick Whitfield and his team literally create hundreds of them, sometimes creating a interactive or dynamic UI in Unity.

Which sequence or shot was the most challenging?
In 95% of cases, except bluescreen elements our actors in the foreground, a shot with a creature is completely digital. That meant digital environment, FX for the natural elements, FX for their interaction, the creatures themselves… We didn’t have a lot of easy shots on the film!

Is there something specific that gives you some really short nights?
There is so much that you always thinking about on a movie like this to ensure that everything will ultimately come together. But we went in with a solid plan and everybody delivered upon it.

What is your favorite shot or sequence?
I like many things that we’ve done so impossible to choose!

What is your best memory on this show?
When I saw people responding to the creatures as characters and not just as digital creations as we were fleshing out the animation and renders.

How long have you worked on this show?
Close to 2 years.

What’s the VFX shots count?
1535.

What was the size of your team?
On the production side, between myself, Maricel and our coordinators we were between 7 and 10 strong but you have to add to that 30 or so artists working in previs and close to 1500 artists and technicians on the vendor side.

What is your next project?
TBD!

A big thanks for your time.

WANT TO KNOW MORE?
MPC: Dedicated page about GODZILLA: KING OF THE MONSTERS on MPC website.
DNEG: Dedicated page about GODZILLA: KING OF THE MONSTERS on DNEG website.
Method Studios: Dedicated page about GODZILLA: KING OF THE MONSTERS on Method Studios website.
Rodeo FX: Dedicated page about GODZILLA: KING OF THE MONSTERS on Rodeo FX website.
Raynault VFX: Dedicated page about GODZILLA: KING OF THE MONSTERS on Raynault VFX website.

© Vincent Frei – The Art of VFX – 2019

The post GODZILLA – KING OF THE MONSTERS: Guillaume Rocheron – Overall VFX Supervisor – MPC appeared first on The Art of VFX.

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Come have a look at the work of Montreal based studio Oblique FX on the third season THE EXPANSE:

WANT TO KNOW MORE?
Oblique FX: Dedicated page about THE EXPANSE – Season 3 on Oblique FX website.

© Vincent Frei – The Art of VFX – 2019

The post THE EXPANSE – Season 3: VFX Breakdown by Oblique FX appeared first on The Art of VFX.

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Don’t miss this VFX Breakdown about the work of Fin Design + Effects on I AM MOTHER:

WANT TO KNOW MORE:
Fin Design + Effects: Dedicated page about I AM MOTHER on Fin Design + Effects website.

© Vincent Frei – The Art of VFX – 2019

The post I AM MOTHER: VFX Breakdown by Fin Design + Effects appeared first on The Art of VFX.

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Goodbye Kansas Studios presents their work on giant apocalyptic creatures for HELLBOY:

WANT TO KNOW MORE?
Goodbye Kansas Studios: Dedicated page about HELLBOY on Goodbye Kansas Studios.

© Vincent Frei – The Art of VFX – 2019

The post HELLBOY: VFX Breakdown by Goodbye Kansas Studios appeared first on The Art of VFX.

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Eric Hayden has worked in visual effects for almost 10 years. He worked on films such as HELL ON WHEELS, AMERICAN HORROR STORY and AGENTS OF S.H.I.E.L.D. As VFX Supervisor at FuseFX, he took care of the effects of projects like QUICK DRAW and DESIGNATED SURVIVOR.

What is your background?
I started in the world of Practical Effects – building miniatures and specialty props and blowing them up. I did a lot of work in the world of creature effects as well, working with Stan Winston on A.I. and TERMINATOR 3, and Steve Johnson on SPIDER-MAN 2 (making Doc Ock’s tentacles and leading their performance on set). I transitioned into Visual Effects when I made my own film ASTRONAUT: THE LAST PUSH (Available on Amazon Prime!)

How did you and FuseFX get involved on this show?
Some might say that FuseFX was born in the muddy Thoroughfare of Deadwood. Back in 2003-2006, David Altenau, Tim Jacobsen and Jason Fotter did all of the visual effects in the series. That collaboration eventually led to the forming of FuseFX. When the movie officially began preparations for production, considerable effort was put forth by the producers – Gregg Feinberg, Scott Stevens, and Mark Toby to re-assemble as much of the original crew as possible. As David Altenau was not directly available to serve as set supervisor for production, I went in his stead.

How was the collaboration with director Daniel Minahan?
Daniel Minahan is one of the best collaborating directors I have ever worked with. He would be inspired to have an idea, and we would discuss the best way to execute his vision. Being on set every day throughout production allowed us to bounce ideas around regularly. During the post-production phase, we would send him early versions of the works in progress to get his feedback. We also pushed hard to make sure his vision was clear in the earlier cuts of the film — much earlier than we usually would have shots near completion.

What was his expectations and approach about the visual effects?
Dan’s expectations and approach to visual effects are in lockstep with mine: The best visual effects are ones that you don’t know are visual effects. The virtual camera should be set up in a way that is consistent with how a real camera would have been set up were the shot to be filmed by production. And all set extensions should follow the very real focus and exposure settings of the camera on set.

How was split the work amongst the FuseFX offices?
The work was performed entirely at FuseFX Los Angeles

The movie opens with an establishing shot of Deadwood. How did you create the town and its environment?
The plate shot was filmed near Frazier Park, north of Los Angeles. We constructed a Matte Painting that started with a photogrammetry model of the Thoroughfare set which was created by a drone fly-through over the set at Melody Ranch. Our Matte Painting department then extended the town based upon direction from Dan Minahan and Gregg Feinberg. Great effort was put into ensuring that the geographical layout of the town would be consistent with all of the set extensions while honoring what was done during the original run of the series.

Can you elaborate on the textures and lighting work?
All lighting of our 3D renders was done using V-Ray through 3DS Max. Except for our smoke simulations which were rendered out of Houdini.

What was the main challenge to create the town?
The most fun challenge of the set extension was to add the 3rd Story to the set of the Bullock and Star Hotel and track it in seamlessly while honoring the brilliant production design of Maria Caso.

What was the real size of the sets?
The Thoroughfare set is MASSIVE. Approximately 3 City Blocks long. This allowed for the cast and crew to be completely immersed in and inspired by the environment.

Can you explain in detail about the creation of the old train?
For the first weekend of shooting, the practical train was on the set of the train depot. During that time, we took thousands of photographs of the train, and a drone flyby was conducted to assist with the model build. The train was then broken apart into pieces to be individually animated like the pistons and wheels. Additional cars were added including the flat-bed cars at the end of the train, carrying the telephone poles into town.

Equally interesting to the creation of the train was the creation of the entire environment that the train moves through. The environment was created in 3DS Max by environment artist, Matthew Rappaport. All of the trees were created and animated using Speed Tree.

All of the train shots were composited by our Digital FX Supervisor, J.V. Pike, with particular attention to detail to create just the perfect feeling of morning mist hanging in the air.

How did you handle the FX work such as the smoke and fire?
All smoke and fire simulations were created by our FX artist, David Rand. We studied a ton of reference footage from trains that inspired the work that David did for the film.

How did you work with the SFX and stunt teams?
We strove to use practical effects as often as possible. Most of the practical FX work that was captured on set only required minimal wire removal from VFX. In some instances, we could not fire the guns due to restrictions so we would use VFX for muzzle flashes and bullet hits in those times.

Which stunts were the most complicated to enhanced and why?
We did not do much stunt enhancement for the show. There was one shot when Hearst is beaten up in the mud and when they carried the actor, Gerald McRaney to jail that required VFX to add the blood makeup to his face.

How did you create the missing finger of Ian McShane?
Ian would wear a black cover over his finger throughout shooting. Once the scenes were edited, our tracking department, headed by Kevin Lin, would match move Ian’s hand for every shot, while compositors, led by Ian Northrop, would paint out the existing finger. Once the match move worked, our lighter, Adam Broad, would match the lighting of the scene and render the model of the finger for every shot. Then compositors would blend the model into the scene. These became very tricky during scenes where Al Swearengen uses his hands a lot, such as the scene where he accepts the medicinal tea from Mr. Wu.

Can you tell us more about the gore enhancement work?
Our compositor, Chris Flynn, handled most of our gore enhancement work. Gore in DEADWOOD was always realistic and shocking in its graphic nature. Adding in blood pouring from the assassin’s head in the Thoroughfare was fun as was making sure that every bullet hit had the appropriate feeling of impact.

Are there any other invisible effects you want to reveal to us?
Throughout the film, there are so many shots that you never notice are visual effects. The set, while expansive, was contained to the primary buildings. There is a more modern section of town down the Thoroughfare which is entirely digitally created. Any time you see trees beyond the buildings, they are digital set extensions. Watch the scene where George Hearst challenges Bullock from the balcony. That scene is filled with invisible VFX.

Also, the scene where Bullock lights the telephone poles on fire. That scene was filmed in the safety of a wide open, dirt parking lot. All of the trees and hills were created in Matte Paintings created from elements shot on the actual location of Charlie Utter’s Claim.

Which sequence or shot was the most challenging?
The opening train shots were challenging but very rewarding.

Is there something specific that gives you some really short nights?
Honestly, recreating some of the VFX from the footage from the original series that played as flashbacks in the movie was stressful, because not only is there a perfect reference of how it should look, those shots were done by David Altenau back in the day, and I wanted to be sure that our work honored his. The original show was not mastered in 4K so, in order for the original footage to fit into the film, the original camera negatives were re-pulled in UHD so that we could re-composite them for the film.

What is your favorite shot or sequence?
I am very happy with the work throughout the film. I love the scene where Hearst challenges Bullock in the Thoroughfare. I also am thrilled with the trains. But I think the sequence that would be my favorite would be the entire end of the film where we added snow to every shot during the emotional closing of the film.

What is your best memory on this show?
When we were filming the wedding party over several nights, the entire cast was assembled. They would hang out on set and sing songs. It was incredibly emotional and special to be present. I was inspired to learn to play the banjo after working on the film — one of the best experiences I have ever had on set.

How long have you worked on this show?
I began VFX prep work on the film by attending location scouts in August of 2018. We shot from October through November. Our work was completed in May of 2019.

What’s the VFX shots count?
Approximately 350 Shots.

What was the size of your team?
We would expand and contract as necessary. There was a core crew of 4 C.G. Artists and 6 Compositors. However, there were periods when we had as many as 20 artists working on the show at a given time.

What is your next project?
I am continuing my work on EMPIRE for their final season. Other work, I’m not allowed to discuss quite yet!

What are the four movies that gave you the passion for cinema?
THE RIGHT STUFF is the most inspirational movie I have ever seen, and I watch it regularly. I love how the entire film looks and feels. I also love Clint Eastwood’s UNFORGIVEN. More recently, I must say that I find MAD MAX: FURY ROAD to be very inspirational. STAR WARS (1977) inspired me to take up model building, to begin with.

A big thanks for your time.

DEADWOOD: THE MOVIE – VFX BREAKDOWN – FUSEFX

Deadwood The Movie (VFX Breakdown) - YouTube

WANT TO KNOW MORE?
FuseFX: Official website of FuseFX.

© Vincent Frei – The Art of VFX – 2019

The post DEADWOOD – THE MOVIE: Eric Hayden – VFX Supervisor – FuseFX appeared first on The Art of VFX.

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Be sure to watch this beautiful end title sequence made by the teams of Elastic for CAPTAIN MARVEL:

© Vincent Frei – The Art of VFX – 2019

The post CAPTAIN MARVEL: End title sequence by Elastic appeared first on The Art of VFX.

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The Art of VFX Blog by Vincent Frei - 5d ago

Here is the teaser trailer for THE SHINING sequel, DOCTOR SLEEP!

The VFX are made by:
Method Studios
Peerless (VFX Supervisor: Marc Hutchings)
RISE (VFX Supervisor: Benjamin Burr)
Secret Lab (VFX Supervisor: Olcun Tan)
Shade VFX

The Production VFX Supervisor is Marc Kolbe.

Director: Mike Flanagan
Release Date: 8 November 2019 (USA)

© Vincent Frei – The Art of VFX – 2019

The post DOCTOR SLEEP appeared first on The Art of VFX.

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In 2011, Brendan Taylor explained to us the work of Mr. X on HANNA. He then works on TRANSPORTER: THE SERIES and POMPEII. In 2013, he founded Mavericks VFX and took care of the effects of projects like MAN SEEKING WOMAN, THE MAGICIANS and AMERICAN GODS.

What is your background?
I started as a director’s assistant on a mini-series shooting in Malta. I saw my first greenscreen a few days into the shoot. It was only something I’d ever seen in behind-the-scenes special features on DVDs. With the help of the VFX supervisor, Sam Nicholson, I landed a job at Stargate in Pasadena, where I was able to see the show go into post production. It was a pretty eye opening experience. I then moved home to Toronto in 2004 to work for Mr. X and then started Mavericks in 2013.

How did you and Mavericks VFX get involved on this show?
We were huge fans of the movie and campaigned really heavily to work on it. We had worked with FX on another VFX heavy TV series called MAN SEEKING WOMAN. In the end, it was the work we did on an episode of MAN SEEKING WOMAN where we did full CG head replacements of monsters that landed us the job. I’m really glad we landed it. It was so creatively fulfilling.

How was the collaboration with the show runners and directors?
It was amazing. Jemaine has ideas about how to shoot things, but is always open to discuss what makes the most sense. His instincts are actually really good. At one point he said: ”You make me nervous when you keep agreeing with my shooting methodologies. I have no idea what I am doing and am just making it up” to which I said: “Welcome to the club.” What I really loved was honing in on what made things funny. It really helped us in the execution of the shot.

What was their expectations and approach about the visual effects?
Taika and Jemaine had both been around some serious VFX. Even though the WHAT WE DO IN THE SHADOWS movie didn’t have a ton, Taika had done THOR: RAGNAROK and Jemaine was in THE BFG. It was great in that respect, because nothing really phased them. “Oh, full CG bat/human hybrid? No problem. Full CG explosion? Cool.” That said, we didn’t have the time or budget to do 200 shots a show. So all of the gags would always be attempted practical, resorting only to VFX if it couldn’t be done practically.

How did you organize the work with your VFX Producer?
Kelly Knauff was our bidding producer, so she would come to all of the meetings and bid the shows (which were shot in blocks of 2 episodes). We would then bid shows as the cuts came in. Mike Kowalski was our VFX producer at Mavericks who would organize timelines and scheduling with post. Everything was managed, organized and scheduled in shotgun.

Can you explain in detail about the design and creation of the bat transformations?
There wasn’t much design work on the transformations, the work had been done in the movie very well. We needed to match that. I asked Jemaine how they did it in the movie and he said: “The actors would jump up in the air, we’d shoot a clean plate and then hand it over to VFX. Would that work?” and we said “Sure! Let’s try it”. 90% of the time that worked fine. It got a little trickier when the camera was tracking with the characters. We’d have to still shoot a clean plate, but recreating the clean plate would involve reprojecting a matte painting on to geometry. When we got into post, paint/roto artists would create the clean plate while the tracking artists tracked the plate. If you look at the effect in the movie, it’s actually quite simple. It’s a wipe with some particle effects. The first pass we would send would be a grey scale animation of the bat, with the wipe transformation for timing purposes. In order to help with the lighting, we had a fake bat on a fishing pole that we would run through the scene as a reference pass. This helps lighters and compositors in the final stages of the shot production as it removes a lot of the guesswork.

For the particles, we generated a few stock “poofs” in Houdini that compositors could layers in. Compositors had some ability to relight the poofs to the scene. If those didn’t work, we could generate new ones specific to the shot. A lot of the control in the look of the shots was handed over to the compositors.

How did you help the vampires to fly?
The flying vampires was all stunts (and actors!) and then VFX would just remove the wires. The stunt team on this show was amazing.

How did you work with the stunt and SFX teams?
It was a very good working relationship. Each department was always looking at how they could help each other out. I can’t say enough about Tig Fong and JR Kenny of Dynamic Effects. Great problem solvers, very prepared, but also great at improvising when things aren’t going to plan. As I mentioned earlier, the mandate was to go practical, so things would fall into Tig and JR’s court. If they couldn’t do it, then we would look to VFX.

Can you tell us more about your work on the gore aspect?
Very little was done in VFX with gore. JR handled that (very well). We did a little addition of some gore and some continuity fixes.

How did you handle the challenge of the TV series schedule?
I believe that the best thing you can do is look ahead in the schedule. The air dates have already been set, so there is no way you can get more time. The best thing to do is try and get more time at the front end. The showrunners were very receptive to that. The argument is that in order to make this look as good as possible, we need as much time as possible. They would gladly turn over sequences early to make their show look better!

Is there something specific that gives you some really short nights?
The shooting! It’s a vampire show, so there are a lot of night shoots. You’d start the week at around 11 am… and then progressively get later and later to find yourself wrapping at 8am on Saturday morning. We call that a “Fraturday”. When we finally wrapped the season, I slept for a long, long time.

What is your favorite shot or sequence?
The Baron barfing. Full CG takeover, with CG vomit. VFX designed the camera work and the animation. I’m quite proud of it, as it was so well received. I still laugh at it.

What is your best memory on this show?
Being on set in episode 6 at Casa Loma (a castle in Toronto) at 3 am. Taika Waititi, Jemaine Clement, Dave Bautista, Kristen Schaal, and the rest of the amazing cast were improving and had the crew laughing hysterically. It was a great moment!

How long have you worked on this show?
October 2018 to May 2019.

What’s the VFX shots count?
391 shots.

What was the size of your team?
30 people worked on the show.

What is your next project?
We are currently working on THE HANDMAID’S TALE Season 3, THE EXPANSE Season 4 and NOS4A2.

What are the four movies that gave you the passion for cinema?
I’m constantly inspired by new stuff…but as a kid:
STAR WARS
JURASSIC PARK
THE GOONIES
INDIANA JONES AND THE LAST CRUSADE

As an adult:
DERSU UZALA
THE KILLING OF A CHINESE BOOKIE
JULES AND JIM
SPIDERMAN – INTO THE SPIDER VERSE

A big thanks for your time.

WANT TO KNOW MORE?
Mavericks VFX: Official website of Mavericks VFX.

© Vincent Frei – The Art of VFX – 2019

The post WHAT WE DO IN THE SHADOWS: Brendan Taylor – VFX Supervisor – Mavericks VFX appeared first on The Art of VFX.

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Trixter have released the VFX Breakdown about their work on CAPTAIN MARVEL:

WANT TO KNOW MORE?
Trixter: Dedicated page about CAPTAIN MARVEL on Trixter website.
Dominik Zimmerle: My interview of Dominik Zimmerle, VFX Supervisor at Trixter.

© Vincent Frei – The Art of VFX – 2019

The post CAPTAIN MARVEL: VFX Breakdown by Trixter appeared first on The Art of VFX.

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Come have a look at the work of Oblique FX on CRAZY ALIEN:

WANT TO KNOW MORE?
Oblique FX: Dedicated page about CRAZY ALIEN on Oblique FX website.

© Vincent Frei – The Art of VFX – 2019

The post CRAZY ALIEN: VFX Breakdown by Oblique FX appeared first on The Art of VFX.

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