Black Widow – Digital Domain

Digital Domain’s Visual Effects Supervisor Dave Hodgins and his team of artists produced visual effects for Marvel Studios’ Black Widow.

The action-packed sequences include the creation and destruction of the Red Room, intense skydiving shots and the final battle between Black Widow and the Taskmaster. Travel through the sky and check out our VFX work for yourself

Free Guy – Digital Domain

For Twentieth Century Studios’ Free Guy, Digital Domain Visual Effects Supervisor Nikos Kalaitzidis led a team of about 254 artists, creating 347 VFX shots for the film. From replacing actors with digidoubles to creating entire CG cities, Digital Domain was also responsible for the 87 gameplay shots that take place inside of Free City, along with the exciting, action-packed opening sequence we call “The Oner,” which truly sets the tone for the film.

Halo – MPC

MPC helped bring the much-loved Halo video game to life for fans and new audiences across world, via Paramount+’s new TV series adaptation, which was released on 24th March 2022. Dramatizing an epic 26th-century conflict between humanity and an alien threat known as the Covenant, Halo the series weaves personal stories with a large dose of action, adventure, and a richly imagined vision of the future.

Bridgerton – Season 2 – One of Us

One of Us studio was the primary VFX vendor for Shondaland’s Netflix series, Bridgerton Series 2. The second season of Bridgerton, focuses on how Viscount Anthony Bridgerton (Jonathan Bailey) sets about selecting the best woman in town. One of Us, worked through pre-production, on-set and post production. The 250 VFX shots include complex creature work, alongside the familiar extravagant environments.

Morbius – Digital Domain

For the Sony Pictures’ film Morbius, Digital Domain created over 500 visual effects shots. Led by VFX Supervisor Joel Behrens, our artists were responsible for the final monstrous, vampiric looks of Dr. Michael Morbius, played by Jared Leto, and Milo, played by Matt Smith. To bring the characters to life the award-winning visual effects studio employed its proprietary facial capture system, Masquerade. In addition to the character design, Digital Domain artists developed the look of the bloom, super speed, flying, echolocation and shedding effects, and contributed to several sequences including the container ship sequence, the subway chase, Morbius’ prison escape and the final battle at the construction site.

Pushpa – The Rise – Makuta VFX

Makuta provided VFX supervision and LiDAR scanning for the majority of this high-grossing feature, producing work for the complex waterfall episode, foliage extensions, forest rebuilds and 3D matte extensions to recreate the sandalwood trees that were critical to the story. With Makuta is producing hundreds of shots working closely with the direction team, the project’s visual effects were turned around in a very short time. This is one of the films, we worked during the pandemic. The film has managed to collect Rs 342+ cr worldwide and the biggest earner of 2021 in India.

How Disney’s Animated Hair Became So Realistic, From ‘Tangled’ To ‘Encanto’ – Insider

The complex helical curl shape seen on Mirabel in “Encanto” is something you haven’t seen in an animated Disney movie until now. The blockbuster musical was Disney’s first animated movie to feature every category of hair texture, from 1A to 4C. Getting there took a decade of building the animation, simulation, shading, and grooming tools to represent the full range of hair types, colors, and styles.

We spoke with four members of the “Encanto” team to find out how they did it: Character Look Development Supervisor Michelle Lee Robinson, Consultant for Afro Colombian Representation Edna Liliana Valencia Murillo, Associate Technical Supervisor Nadim Sinno, and Character Look Artist Jose “Weecho” Velasquez.

They help trace the evolution of Disney’s 3D-animated hair over the past ten years, from Rapunzel’s 70-foot long mane in “Tangled” and Elsa and Anna’s braids in “Frozen” to the curly-wavy hair in “Moana” and diversity of textures in “Encanto.”

Foundation – Season 1 – Spin VFX

Based on the award-winning novels by Issac Asimov, Foundation chronicles a band of exiles on their monumental journey to save humanity and rebuild civilization amid the fall of the Galactic Empire.

VFX Supervisor Jeff Campbell, Supervising Producer Carrie Richardson, and VFX Producer Aakashi Patolawala brought this vision to life through earth-shattering explosions, detailed futuristic aircrafts, and out of the world views.

Foundation won 2 awards from 3 nominations at VES 2022, including the award for “Outstanding Visual Effects in a Photoreal Episode” and “Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project”.

Bridgerton – Season 2 – One of Us

As per Julia Quinn’s bestselling novels, which deal with each of the eight Bridgerton siblings in turn, the second season of Shondaland’s Netflix series, Bridgerton, focuses on how Viscount Anthony Bridgerton (Jonathan Bailey) sets about selecting the best woman in town.

VFX Studio, One of Us, took part in this project as a continuation of the first instalment, working through pre-production, on-set and post production. The 250 VFX shots include complex creature work, alongside the familiar extravagant environments.

Raised by Wolves – Season 2 – Spin VFX

Produced by science fiction director Ridley Scott, Raised By Wolves is a sci-fi thriller that visualizes a dystopian future where androids and humans are at war over opposing religious beliefs.

VFX Supervisor Mo Sobhy and Executive Producer George Macri visualized and created detailed alien creatures and a life-like human baby in this emotional story about the volcanic force of parental love.

Cyrano – Cinesite

From director Joe Wright comes this lush, musical retelling of the timeless tale of Cyrano de Bergerac. Set against a baroque cityscape, self-conscious wordsmith Cyrano helps young Christian to win the heart of Roxanne, who Cyrano secretly loves. Cyrano has been nominated for Outstanding British Film in the 2022 BAFTA film awards.

This lush production includes around 100 invisible visual effects, which range from environments and set extensions to retimes, CG blood, swords, fires, clean-ups and an action-packed, fast-paced long-shot, which sees Cyrano single-handedly besting a mob of attackers.

Visual Effects Supervisor for the production (and Cinesite) was Artemis Oikonomopoulou. The film is produced by Tim Bevan and Eric Fellner of Working Title, along with Guy Heeley.

Rangasthalam – Makuta VFX

Makuta was tasked to produce the primary introductory shots of Ram Charan in this iconic drama. From producing the initial car accident shots, simulation, rendering and compositing work, we also produced the CG bicycle, which crashes in front of camera for the same shots. The main sequence, we were required to produce was the introductory shot of the hero. Originally attempted as a drone shot, it wasn’t possible for the crew to achieve the sweeping wide shot to close-up that was necessary, therefore a full CG environment was built, complete with barrage, water, foliage, etc., to match the subsequent live shots in the sequence. Combined with a live plate of the actor, the final shot swept down from an extreme distance to a close profile shot seamlessly.

Vikings – Valhalla – MPC

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.

How Mirror Scenes Are Shot In Movies & TV

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.

7 Classic Movie Tricks That Led To Modern CGI

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.

How City Streets Are Transformed To Look Old In Movies

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.”

What 5 Tom Holland Stunts Looked Like Behind The Scenes

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.

How Fake Crowds Are Made For Movies And TV – Insider

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.

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