![]() “F*** yeah, let’s do it.” The creators of ‘Shapes’ banter about creative chemistry, good horror, and crafting brain gore from a grape.Helping Ben Affleck Get Away With Murder: Deep Water BTS Special FX Breakdown.Unity PR prize fight: Who won the summer for news that matters to VFX artists An intro to visual effects: ‘The Rough Cut’ post-production podcast hosts Crafty Apes to discuss “The art and business of VFX”.The question of future artistic integrity in Post: The pros and cons of Bruce Willis selling his likeness to be used with deepfake technology.If Comic-Con and SIGGRAPH had a baby: What to expect at Epic’s Unreal Fest 2022.KD: “When crowds have to react to a specific action moment in a film it becomes a dance of the animation for the reaction, the variations of that emotion, variations of characters, populating the stadium, and having enough computing power to bring all of that together under a deadline.” Post-COVID especially, we’re only able to get 25, 50 people max on a set at one time.” KK: “Crowd enhancement is done a lot more than people probably realize. With some unique technologies we have built at Crafty we have the control to populate stadiums of all sizes.”Īre there any moments in the film that require very understated effects where the viewer might not realize there’s some magic at work? We typically have between 20-50 extras on set for sports-driven movies and with COVID as a factor that number has decreased. KD: “This is one of the many capabilities Crafty Apes has to offer for productions. ![]() How much does the ability to enhance a crowd’s size and volume play into the success of a sports-driven film? Is that all extras and sound editing or is there some visual effects magic there? So we had to remove a lot of glints and highlights from helmets, add extra rain, smooth shadows.” And it was a particularly sunny day that day when we shot. So that entire sequence at the end of the championship has all VFX digital crowds, which presented lots of challenges–lots of tracking, lots of added people, lots of roto (rotoscoping).Ī challenge was the Mud Bowl sequence, where we had to do a lot of vomit enhancement and rain enhancement and cleanup. Since it was COVID times, we were only able to do a limited number of extras. KK: “I would say most challenging in terms of just general workload was adding all the crowds to the final championship game. What was the most challenging sequence in the film? Did it have anything to do with making an entire football team projectile vomit in the rain? One of the cool things that we got to do to enhance that was all the flickering and digital fracturing of the LED scoreboard portion of it.” Blowing up anything on set is always fun. Again there were practical elements but we had a blast enhancing them. The burning tree was all practical.”ĭo you still get excited when you get to go into a moment and figure out how to blow up a scoreboard? That was originally done with some LED pucks, but to make it look more realistic, we added some small fire to the base of the lantern. ![]() We added some CG fire to the base of the lantern. The one rogue lantern that sneaks off into the background to catch the tree on fire is an entirely CG lantern, which we modeled and textured and lit. ![]() We did have some practical lanterns that were attached to wires and rigs by the special effects team. KK: “It was a combination of the two (practical and VFX). How’d you guys pull this off? Are the pyrotechnics entirely done in VFX or are some practical? There’s a scene where the football team is serenading a girl’s house with flame-lit lanterns inside cotton sheets and you can see disaster coming. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |