Why The Batman is So Beautiful
Director Matt Reeves and cinematographer Greig Fraser have created an immersive world draped in darkness and mystery that makes most modern blockbusters look like amateur student films, and it’s an answer to a trend that’s cursed the entire filmmaking industry which is to make every shot look clean. But what makes The Batman dirty then? What’s so unique about how The Batman was shot that makes it so… beautiful? In this video we’re going to dive into the approach Matt Reeves and Greg Fraser took to bring their Batman to life, the lenses they used, their cinematic references, the lighting, color grading, and an interesting new approach to digital cinema with 35mm film. We also do a recreation of The Batman using an anamorphic lens and the Sony A7iv to show how you can apply the principles from The Batman to your own work.
Moon Knight – Union Visual Effects
Thor – Love and Thunder – The Goats’ Origins
The Boys – Season 3 – MPC
From arguably the most emotional scene in the series (RIP Timothy) to some extreme NSFW shots we couldn’t even include in our breakdown reel, this was a different project for many reasons!
Now and Then – Entropy Studio
Star Trek – Picard – Season 2 – Outpost VFX
Ms. Marvel – Digital Domain
The team also created several environments including the crowded train station set on the eve of the infamous Partition of India, creating several digital trains, crowds in period-appropriate clothing, and smoke to bring it all to life. Additionally, Aladino and his team were responsible for the fight sequence in the final episode. For this sequence, the team developed the look for Kamran’s damaging powers, Ms. Marvel’s giant, hard-light hands, digital debris, partial digidoubles of Kamran and Ms. Marvel, and more.
The Digital Domain team was also responsible for the iconic closing scene, which appeared in the series’ poster where Ms. Marvel sits on a lamppost and looks out over the city as her hair blows in the wind.
Star Trek – Discovery – Season 4 – Outpost VFX
Moonfall – Pixomondo
The Batman – Scanline VFX
How The Gray Man’s Visual Effects Were Made – Netflix
Ms. Marvel – Trixter VFX
Wheel of Time – Cinesite
A Christmas Carol – Dazzle Pictures
The Battle At Lake Changjin VFX – TerminalFX
Ms. Marvel – Rise
Squid Game – They All Fall Down
The Art of Collaboration: NVIDIA, Omniverse, and GTC
The Magic Flute
NVIDIA Special Address at SIGGRAPH 2022
Warriors of Future
RenderMan – Showreel 2022
renderman.pixar.com/
The Last Duel – MPC
Technicolor Creative Studios Production Supervisors Gary Brozenich and Jessica Norman worked alongside MPC Film VFX Supervisor Sebastien Raets, VFX Producer Skye Radies and teams in London, Montreal, and Bangalore delivering over 180 shots, and with VFX Supervisor Yann Blondel, VFX Producer Kristina Prilukova and the Paris based team, delivering an additional 220 shots.
MPC Film’s artists crafted the visual effects of two sequences: the duel and the Limoges battle. The original brief did not require extensive crowd building, but as the pandemic determined new ways of working, it was essential for the team to adapt the visual effects requirements, and crowd simulation artists were required to simulate both full CG crowds and crowd extensions.