VFX breakdown for Groupama’s myZen tvc campaign. Three different scenarios, three cars getting destroyed in awkward and funny situations. First project we decided to involve lidar scanning, using Leica’s professional 3d scanners.
In this demo Jason Billington from Industrial Light & Magic takes us through their use of The Foundry’s NUKE on Transformers: Revenge of the Fallen. This demo was filmed on our booth at NAB 2010 by John Montgomery from FX Guide TV.
Jeff White describes the process used to make Transformers: The Movie at Industrial Light & Magic (ILM). The second in a two part series consolidating the composition of characters and various scenes. Recorded at Siggraph 2007 in San Diego, CA.
The story continues for Spider-Man as he is unmasked and unable to separate his every day life is from his superhero duties. When he asks for help from Doctor Strange, he discovers what it truly means to be Spider-Man. The Cinesite Montreal studio delivered multiple key shots for this final installment in the trilogy.
MPC returns to the world of Vikings – delivering epic VFX for the new original series Vikings.
A 600+ strong global team led by VFX Supervisor Ben Mossman and VFX producer Vishal Rustgi delivered over 800 shots, working on a host of environments, water simulations, and bloody battle scenes for Netflix’s new acclaimed drama.
A four episode ‘ice storm’ event. No problem for our artists at FuseFX! Check out this epic “9-1-1 Lone Star” ice storm that opened the season. #VFX provided by #fusefx
For this landmark film, Makuta contributed numerous shots consisting of compositing several motion controlled layers to give the overall impression of the lead actor being a person of smaller statue.
Mirror shots in movies are especially challenging, as it’s hard to shoot a character’s reflection without accidentally revealing the camera. So Hollywood has many visual tricks to avoid this. Movies like “The Lady from Shanghai” and “It Chapter Two” used two-way mirrors. “Terminator 2: Judgment Day” didn’t use a mirror at all and instead had Arnold Schwarzenegger and Linda Hamilton standing on one side of an open frame looking into a double set with body doubles mimicking their every move. Better visual effects meant movies like “Birdman” could shoot a real mirror and easily erase the camera later. For “Last Night in Soho,” Edgar Wright used a combination of these techniques, and many more, so Thomasin McKenzie and Anya Taylor-Joy could mirror each other’s movements.
Before the widespread use of CGI, filmmakers used surprising in-camera tricks and optical illusions to fool audiences. Early filmmakers like Georges Méliès could add a hidden cut to film a wide array of illusions. Creative composites allowed for an invisible character in 1933’s “The Invisible Man” and for Moses to part the sea in “The Ten Commandments.” Artists literally painted on top of shots to extend sets in “Citizen Kane” and create fantasy worlds in “The Wizard of Oz.” While most of these methods are obsolete today, new technologies like the LED projection used in “The Mandalorian” and the motion-control cameras in 2020’s “The Invisible Man” build off these past methods.
Go behind the scenes to find out how period movies turn back the clock on city streets.
Rena DeAngelo is the Oscar-nominated set decorator behind this year’s “West Side Story” and Wes Anderson’s “The French Dispatch,” both set in the ’50s-to-’60s time period. In this episode of “Movies Insider,” she breaks down how she’d transform a contemporary New York City street to look like a 1957 time capsule.
Rena takes us through Eclectic/Encore Props in Long Island City, Queens, and shows us the period products and street dressing she would use to rewind time on a modern city. Find out how set decorators dress windows, create fake storefronts, and cover up modern signifiers to make filming locations resemble an era of the past.
Rena has worked on a long list of period pieces, from “Mad Men” to “The Help.” She is a frequent collaborator of Steven Spielberg’s, having worked on three of the director’s historical dramas: “West Side Story,” “Bridge of Spies,” and “The Post.”
When watching 2022’s “Spider-Man: No Way Home” or “Uncharted,” viewers might leave the theater wondering, “Does Tom Holland do his own stunts?” The answer is yes, often. The actor does work with stunt doubles, but his gymnast and dancing background gives him an advantage and helps him to perform aspects of his own stunts. This includes pole-vaulting in 2019’s “Spider-Man: Far From Home,” swinging through the streets of New York City with Zendaya in “Spider-Man: No Way Home,” and climbing up a replica of the Washington Monument in 2017’s “Spider-Man: Homecoming.” Here’s a look at 5 risky stunts the actor performed himself, including what he called the most difficult stunt of his career.
Using completely real crowds in Hollywood productions can be a huge logistical challenge. That’s why movies and TV shows have found many ways to make crowds look bigger than they are. Older movies like “Ben-Hur” used matte paintings, while movies like “Glory Road” have used inflatable extras. Today, duplication and CGI are the most frequently used techniques. On the Apple TV series “Ted Lasso,” Barnstorm VFX had the daunting challenge of filling a 26,000-seat stadium using a mix of real and fake people. As Barnstorm VFX supervisor Lawson Deming told us, it’s the mix of the two that best convinces the viewer.