In the News


FuseFX Provides VFX for John Ridley’s “American Crime” and “Let It Fall”

2017-06-06 08:12:19 artisanspr

LOS ANGELES— The FuseFX Los Angeles crew recently provided visual effects services for two projects by Oscar-winning writer/producer/director John Ridley – the anthology series American Crime and the feature-length documentary Let It Fall, which aired April 28.

The studio served as the sole visual effects provider for the third season of American Crime, which included numerous 3D set extensions and digital matte paintings. “The series takes place entirely in North Carolina, but was shot in and around Los Angeles,” notes Jason Piccioni, VFX Supervisor on both Ridley projects. “The lion’s share of the VFX work involved enhancing, replacing, and/or building environments that more closely resembled the landscape, groves, fields, and small towns of our story location.”

Portions of the show were set in a camp housing migrant farm workers. “We built a maze of rundown trailers out at Disney Ranch in Los Angeles and then extended those camps with CG and matte paintings to increase the size of the trailer park and surround it with a landscape appropriate to North Carolina,” Piccioni elaborates.

FuseFX’s contributions to Let It Fall, an in-depth look at the culture of Los Angeles in the years leading up to the 1992 riots, were of a much different variety – one to add critical context rather than shape environments. FuseFX artists created hundreds of animated maps, handwritten notes and titles, and other graphics that are used throughout the film to provide critical information and enrich the narrative.

“By their nature, documentaries tend to include an incredible amount of exposition,” Piccioni explains.  “John Ridley was looking for a way to present information cinematically, so that viewers can absorb it without feeling like they’re reading a textbook.”

Piccioni’s team worked with Director Ridley, Editor Colin Rich (also from American Crime) and Art Director Manija Emran to design the graphics that matched the texture and language of the film.  “It was fun to do something a little different and still be so integral to the storytelling,” Piccioni says.

Piccioni shared that it was a privilege to work on projects that inspire viewers to relate to characters quite different from themselves. “John has a gift for presenting stories honestly and in a way that causes us to see and empathize with many sides of these situations,” he notes.  “The gray area and difficult decisions that permeate these people’s lives are, I think, themes that we can all connect with.”

“Both shows urge viewers to think more deeply about our society and take a closer look at these themes on a national scale,” Piccioni adds.  “It’s those challenges that make working with John so rewarding.”


About FuseFX

FuseFX is a full-service visual effects studio serving the television, feature film and advertising industries from facilities in Los Angeles, New York and Vancouver. Founded in 2006 by David Altenau, the company encompasses a crew of more than 300 highly talented and experienced artists, producers and support personnel. Using its refined, custom database and pipeline, the company can accommodate numerous, high shot-count productions while delivering high-quality, on-time results.

For more information, visit


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Making of: Freezing a Muay Thai Battle in Time

2017-05-31 17:27:14 ccwire-staff

LONDON, UK – With the release of its Statue project, London-based creative studio Saddington Baynes has created a frozen moment of a Muay Thai battle, utilising full-body 3D photo scans created in partnership with body-scanning experts FBFX.

Saddington Baynes is well-known for pushing the boundaries of technical innovation in the creative industry, establishing its R&D arm SBLabs to showcase this in-house ability. For Statue, SBLabs used advanced procedural displacement techniques, complex shaders and dynamic particle simulations to deliver a fierce fighting showcase. The results are already sweeping up accolades across the creative community, including a Platinum in the Creativity International Media & Interactive Design Awards.

James Digby-Jones, Executive Creative Director at Saddington Baynes, comments: “We wanted to create a project to showcase our expertise working with complex simulations and highly detailed 3D talent, while also demonstrating our imaginative storycraft and VFX capabilities. The Statue project quickly picked up a Platinum award and we’ve entered it into others. It’s a great piece that shows off a variety of high level skills, applicable to multiple market sectors.”

Statue – Behind the Scenes from Saddington Baynes

Scanning and capture

To achieve unparalleled detail required meticulous planning. SBLabs blocked out early concepts in Cinema 4D to explore strong poses and the choreography and to direct the camera path.

SBLabs then approached SFX costume and 3D scanning specialists FBFX, who captured key moments of the Muay Thai battle in live action, as one at a time the combatants jumped and punched and kicked, all the while being captured as high resolution point clouds and image maps from multiple cameras. Besides being martial arts enthusiasts, both models were actually part of the Saddington Baynes team – a Production Assistant and a CG artist!

Andrew White, Creative Director at Saddington Baynes, comments: “FBFX helped us build separate scan captures in ZBrush with seamless results. They were a huge asset, delivering exactly what we needed in line with our vision”

Particle simulation

Alongside these scanned models, Statue also features complex Houdini simulations. The models land blows on each other, cracking open igneous husks to reveal the searing heat below. SBLabs ran a series of customised fragmentation and tessellation processes on the geometry with look development performed in Mantra.

Andrew White, Creative Director at Saddington Baynes, comments: “We found that by outputting some custom aov passes we could create a hot metal look inside Nuke. By using holdout mattes and base beauty elements, this gave us a great way to time and control the intensity of the heat effect.”

Based out of London, Saddington Baynes has a long history of technical innovation. Besides being the original pioneers of digital retouching in 1991, Saddington Baynes were also one of the first production studios to harness the potential of CGI in-house. More recently, the team developed an Engagement Insights® service – the world-first use of neuroscience techniques to measure emotional impact of imagery. Recent commissions include Honda’s pan-European ‘Real View Test Drive’ campaign.

About Saddington Baynes

Saddington Baynes is a leading creative production agency that has produced premium imagery for advertising agencies and brand clients for 25 years.

Saddington Baynes’ mission is to create sensational imagery that inspires brand devotion, with a focus on emotional reactions and engagement. To achieve this, Saddington Baynes developed its Engagement Insights® service – an entirely new way to measure the emotional impact of imagery, using neuroscience techniques.

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The Sword and the cineSync: VFX of King Arthur

2017-05-31 11:46:48 ccwire-staff

King Arthur: Legend of the Sword feels like the logical next step in Guy Ritchie’s career – after all, who better to direct a modern reimagining of King Arthur than British film royalty? Ritchie has spent years moulding rough and rugged England into whip-smart stories of sleazy charm, and Ancient Albion feels like home turf.

Ritchie has driven a bolt of trademark energy through King Arthur’s folklore, the murky grasslands and staunch stone castles fizzling with the director’s verve. This is mythological Britain filtered through modern-day cinematic technique – not to mention some truly exceptional VFX, delivered under the watchful eye of VFX Production Supervisor Gavin Round (sadly not of the round table).

Boasting a decade of experience in visual effects, Round has worked on numerous blockbusters, chalking up visual feasts such as Harry Potter and the Deathly Hallows and Edge of Tomorrow. He teamed with Ritchie on King Arthur to breathe new life into the classic tale of swords, sovereigns and sorcery, corralling the project’s global VFX teams around a singular vision with support from cineSync.

“I came onto King Arthur in 2014, working with VFX Producer Alex Bicknell and VFX Supervisor Nick Davis, who I’d worked with on Edge of Tomorrow,” he explains. “Thanks to that experience, we had an established, effective workflow in place for meeting with vendors, viewing material, and of course, using cineSync. In other words, we could hit the ground running on King Arthur.”

Vendors of the round table

cineSync was key to making King Arthur’s VFX a reality, given the nine separate vendors involved in the process. Framestore stood as the lead vendor, operating out of both its London and Montreal studios. Contributions also came in from MPC’s Montreal team, Method Studios in LA and Vancouver, Scanline in Vancouver, and many more, totaling nine different studios.

Round was in the thick of the battle on King Arthur from pre to post, helping to establish Ritchie’s new kingdom of myth and magic across all studios involved.

“My duties involved managing vendors, making sure the shots came in on time and that the vendors had everything they need,” recalls Round. “cineSync enabled us to review the material constantly, so we were always aware of the status of any given shot. We could see it in real-time to discuss with the vendors.”

cineSync played a large role in creation of King Arthur’s many mythical creatures, such as a nine-foot CG villain, whose creation was split between VFX vendors Framestore and MPC.

“It was a delicate process, as we had to maintain continuity between the two vendors, who were essentially building different parts of the same being,” explains Round. “We needed to constantly review and check the material back-to-back to ensure everything transitioned correctly, no matter which vendor it came from. This is the exact kind of situation where cineSync is so useful – it saves a lot on travel!”

cineSync was used almost every day in post on King Arthur, particularly towards the end of the project. “We relied on cineSync heavily during the backend of the post schedule, at which point we were ramping up and getting most of our shots through,” says Round. “We used cineSync with all the vendors involved – we knew we could rely on it.”

The sword and the cineSync

cineSync proved to be a powerful tool throughout the filmmaking process – and one that, unlike Excalibur, anyone could wield: the entire King Arthur production team fell in love with the simplicity of cineSync – in particular, VFX Supervisor Nick Davis, who would make sure every VFX shot was reviewed, analyzed, and improved by all vendors.

“He likes to do cineSync sessions because he can pull up a shot, make marks on it, draw on it and tell the artists exactly where he wants a creature to walk,” says Round. “We did it for the big shots and small shots alike – whatever we were working on, cineSync ensured that the sequence ended up looking much better on screen.”

For Round, King Arthur revolved around the power of cineSync, ensuring that every shot was delivered to the ultimate satisfaction of all involved: “cineSync was completely intertwined in our day-to-day workflow. It was a brilliant overall tool and made my life much simpler.”

Or, as the British would put it: Bob’s your uncle!

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Fox buys Technoprops: Glenn Derry to head Fox Studios’ VFX

2017-04-27 17:01:00 ccwire-staff

Twentieth Century Fox Film announced the acquisition of Technoprops, as well as a multi-year agreement with the Company’s founder, Glenn Derry, who will serve as Vice President of Visual Effects and oversee virtual production efforts.  Derry, whose appointment is effective immediately, will be based in Los Angeles and report to John Kilkenny, TCFF’s President of Visual Effects.

Under the terms of the acquisition, Technoprops will now operate as The Fox VFX Lab and the division is currently planning to open a virtual production facility in downtown Los Angeles, at which Derry’s team will operate and be headquartered.

“Technoprops is quite simply the entertainment industry’s top shop in the world of virtual production tools and real-time visualization techniques,” said Mr. Kilkenny.  “We couldn’t be more excited to have him join Fox to run the newly-created Fox VFX Lab.”

Glenn Derry heads up Technoprops and this acquisition is far more significant than it might first appear. It signals Fox Studios major commitment to a new way of making films: full Virtual Production.

Technoprops is known as the ‘go to’ place for wearable head rigs, such as seen in last year’s SIGGRAPH Live winning EPIC Games / HellBlade demo. Fox’s move to buy the company and have its founder as VP of Visual Effects signals a commitment to virtual production at the major Hollywood studio.

Apart from controlling ‘Teddy’ in Steven Spielberg’s A.I. Artificial Intelligence , virtual production supervising Avatar, simulcam developing and supervising on Disney’s The Jungle Book, and facial capture supervising at ILM on films like Warcraft, – Glenn Derry is also rumoured to have once personally installed Tom Cruise’s advanced TV, and taught him how to use the remote!

The company is known for:

  • The highest quality and most comfortable body worn facial capture systems
  • Virtual production pipeline creation and on set supervision
  • Bespoke virtual camera hardware and software
  • Augmented reality cinematography systems and on set operation – aka SIMULCAM
  • DIT, video assist, and dailies pipelines
  • Motion base operation and CG Integration
  • Helping really creative teams use technology to make scripts a reality

Technoprops movie and games credits include, Avatar, Warcraft, Avengers – Age of Ultron, Disney’s The Jungle Book, and Halo 4.


Read the full story at FXGuide.

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FuseFX Launches Virtual Reality Spinoff

2017-04-18 08:09:43 artisanspr

LOS ANGELES— Award-winning visual effects house FuseFX, which produces visual effects for such shows as Agents of S.H.I.E.L.D., American Horror Story, Luke Cage and Criminal Minds, has launched a spinoff venture to tackle projects in the rapidly expanding field of virtual reality. FuseVR will create visual effects assets for virtual reality projects, including 3D sets, digital environments and CG characters. The effort will be led by Bud Myrick as VR Supervisor and John Heller as VR Creative Director.

FuseFX President David Altenau said that the studio has the tools, talent and expertise to enliven VR productions with Hollywood-caliber visuals. “We expect VR to become a major component of our media experience and we want to be a part of it,” Altenau observed. “Our workflow adapts readily to VR and we have a skilled team that is enthusiastic about taking on the challenge. There is a big need in VR production for digital assets and environments, and no one does that better than we do.”

Bud Myrick, John Heller

In its first outing, FuseVR provided visual effects services for Buzz Aldrin: Cycling Pathways to Mars, a virtual reality production that recently debuted to wide acclaim at SXSW. The piece features the legendary astronaut of the Gemini 12 and Apollo 11 missions presenting his vision for sending humans to the Red Planet. FuseVR artists created a number of digital sets and environments for the project including Aldrin’s proposed spacecraft, a moon base used for “vapor mining” and a 360° view of the Milky Way.

Myrick is a 25-year veteran of the visual effects industry whose VR experience includes Escape the Living Dead, notable for its groundbreaking use of moving VR cameras and feature-quality visual effects. His background also includes 15 years at Rhythm & Hues, where he contributed to visual effects for films such as Serenity, Men in Black II, X-Men 2 and Around the World in 80 Days.

Heller is also a veteran of Rhythm & Hues, where his credits as VFX Supervisor included Big Miracle, Percy Jackson & The Olympians: The Lightning Thief and The Bourne Legacy. As an independent, he has worked on such films as A Walk in the Woods and Secret in Their Eyes.


Heller noted that FuseFX has been planning its entry into VR for more than a year. “We’ve been building relationships and examining opportunities in this new space,” he said. “Once we began to think seriously about it, it took on a life of its own and became part of our paradigm.”

FuseVR was contracted for the Buzz Aldrin project by VR production company 8i. The studio developed the lunar mining base from concepts suggested by Dr. Andrew Aldrin, Buzz Aldrin’s son.  The Martian surface was created from photogrammetry data captured in Morocco, where NASA conducts Martian surface simulations.The most challenging effect, appearing at the climax of the piece, places the viewer in the center of a rapidly expanding Milky Way galaxy.

“The visuals were designed with VR in mind,” explained Myrick. “They include environments that can only be adequately experienced in virtual reality. It’s a moment of wonder.”

“People are wowed by this piece,” Myrick added. “It’s an outstanding project, particularly for our first foray in VR.”

Altenau described the project as an ideal demonstration of what FuseVR brings to virtual reality production. “It went very smoothly and was a great experience for our team,” he said. “It laid the groundwork for future VR projects.”

About FuseFX

FuseFX is a full-service visual effects studio serving the television, feature film and advertising industries from facilities in Los Angeles, New York and Vancouver. Founded in 2006 by David Altenau, the company encompasses a crew of more than 300 highly talented and experienced artists, producers and support personnel. Using its refined, custom database and pipeline, the company can accommodate numerous, high shot-count productions while delivering high-quality, on-time results.

For more information, visit

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MPC Delivers Futuristic Spectacle for ‘Ghost in the Shell’

2017-04-13 11:49:23 ccwire-staff

Paramount Pictures’ remake of the 1989 Japanese Manga series Ghost in the Shell is a futuristic visual effects spectacle that tries to pay homage to the anime world in live action. Directed by Rupert Sanders, the film stars Scarlett Johansson as Major — a woman whose brain is implanted in a cyborg body after a terrible crash nearly takes her life. Her new cyborg abilities make her the perfect soldier, but she yearns to learn about her past.

Ghost in the Shell was filmed primarily at Wellington, New Zealand’s Stone Street Studios, with additional shooting in Hong King and Shanghai. WETA Workshop handled the on-set, practical effects, but to fully realize the futuristic world of Ghost in the Shell and some of its fantastic cyborg creatures, the filmmakers tapped international visual effects facility Moving Picture Company as the lead VFX vendor, giving them more than 1,000 shots. The complex work required a close collaboration between the director, production VFX supervisors John Dykstra and Guillaume Rocheron, and MPC’s teams in Montreal, London and Bangalore led by VFX supervisors Arundi Asregadoo and Axel Bonami.

Read the full story at AWN.

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Rising Sun Pictures Sinks Its Claws into “Logan”

2017-03-07 08:22:03 artisanspr

Adelaide, South Australia— Reprising its role on The Wolverine, Rising Sun Pictures joined Director James Mangold’s team for Logan, the third and final installment in 20th Century Fox/Marvel’s “Wolverine” saga. Working under Production VFX Supervisor Chas Jarrett and Co-Producer Kurt Williams, RSP contributed some 230 shots to the dark, visceral tale, with the work ranging from animating the title character’s trademark claws to producing finely-detailed matte paintings of locations in Mexico, Texas and elsewhere.

Logan is a departure from other X-Men movies in tone and style. Set in 2029, it reveals a declining population of X-Men and a weary Logan (Hugh Jackman) with diminishing powers. His attempt to hide from the world, and shelter an aging Professor X, is foiled by the arrival of a young mutant.


RSP’s work included the movie’s opening scene near the U.S.-Mexico border. Working as a limo driver, Logan is confronted by a gang of thugs. Although his skills are rusty and his adamantium claws don’t work quite the way they should, he dispatches his assailants in a swift, violent flurry, stabbing one through the arm and skewering another straight through his head. Visual effects elements included not only the animated CG claws, but also blood, gore, wounds and body part replacements.

Although RSP had created a number of claw effects for The Wolverine, the speed and complexity of the fight proved challenging. “The story and performance beats were well articulated through bash comps from Chas and editorial mock-ups,” notes RSP VFX Supervisor Dennis Jones. “Still, there was a lot to work out about the mechanical functioning of the claws and how they related to the actors and individual body parts, and we were given considerable license to solve the action in creative ways.”

“It went beyond tight match-moving and claw integration. For some of the really specific penetration moments, we had to remove, stabilize and reposition Logan’s arms, fists and claws to suit the composition and timing of the shot.”

The action was considerably more graphic than in the past, in some instances, shockingly so. “On the earlier films, we worked within PG-13 guidelines, but Logan’s R-rating was confirmed from the start,” Jones explains. “That introduced another dynamic to play with. We could work with less restraint regarding things like blood and claw penetration.”

RSP’s most visually arresting sequence involved Professor X’s application of a “psionic blast,” a huge pulse of energy that affects the mind rather than the body. In the movie, it takes the form of a vortex of violent energy, through which Logan fights his way while fending off “cybernetic “ criminals known as “reavers.” “The blast was the most challenging effect creatively,” says Jones. “The sequence was shot natively with camera shake and so there were no clean takes.  Initially, we explored effects and treatments designed to add tunnel vision vignetting, as well as applying blur and over exposure, but weren’t satisfied with the results.”

Ultimately, the team chose to start over and stabilize the production footage. “We found that shots with high contrast content and aggressive high frequency shake produced ideal results without too much modification,” says co-VFX Supervisor Anthony Smith. “We developed techniques to augment the blur artifacts with custom-animated kernels applied through the FFT (fast Fourier Transform) method. That produced sharp and controllable results.”

The challenges posed by the digital matte paintings were more aesthetic than technical. RSP was charged with replicating several environments so that audiences would accept them as real. They included a border crossing between El Paso and Juarez that featured a bridge, traffic and guard structures integrated with footage shot on location in Juarez. “We were also asked to make a building operated by Transigen (a government program designed to turn mutants into killing machines) look more ominous and secure,” notes Jones. “We did that by dressing a live action plate with full CG props such as cameras, gatehouses and security fencing. Lighting and integration was key in these supporting effects shots.”

Jones says it was exciting for the RSP team to contribute to the conclusion of a story they helped begin. “We were really pleased to work on the limo fight as it sets the tone for the brutality of Logan,” he concludes. “We were also very happy with how well the psionic blast turned out and the reaction it is getting from audiences…the audio adds a lot to the tense, high pressure visuals. We really enjoyed the opportunity to contribute to the film and revisit the Logan character.”

About Rising Sun Pictures:

At Rising Sun Pictures (RSP) we create inspirational visual effects for major studios worldwide. Creating outstanding images is at the core of our existence. At the heart of our talented team, there is a diverse knowledge and skill-set, enabling a collaborative core where we can work together to solve problems and deliver great visuals to our clients. We have achieved some truly amazing visual effects work by providing innovative solutions to technically challenging work. We have the capacity and talent pool to scale to suit the needs of our clients.

Our extensive filmography includes over 100 projects, including Logan, X-Men: Apocalypse, Game of Thrones Season 6, The Legend of Tarzan, Gods of Egypt, Pan, X-Men: Days of Future Past, The Hunger Games franchise, the Harry Potter franchise, Gravity, The Wolverine, Prometheus and The Great Gatsby.


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Visual Effects Society Announces Nominees for 15th Annual VES Awards

2017-01-10 16:06:51 ccwire-staff

Los Angeles  – The Visual Effects Society (VES), the industry’s professional global honorary society, announced the nominees for the 15th Annual VES Awards, the prestigious yearly celebration that recognizes outstanding visual effects artistry and innovation in film, animation, television, commercials and video games and the VFX supervisors, VFX producers and hands-on artists who bring this work to life.  Rogue One: A Star Wars Story received the most feature film nominations with seven; Doctor Strange and The Jungle Book follow with six each. Kubo and the Two Strings is the top animated film contender with six nominations and Game of Thrones leads the broadcast field and scores the most nominations overall with 11.

The VES Awards will herald the organization’s milestone 20th anniversary. Nominees in 24 categories were selected by VES members via events hosted by its ten sections, including Australia, Bay Area, London, Los Angeles, Montreal, New York, Toronto and Vancouver. The VES Awards will be held on February 7th at the Beverly Hilton Hotel.  As previously announced, the Lifetime Achievement Award will be presented to multiple Academy Award®-winning visual effects pioneer Ken Ralston.  The Visionary Award will be presented to acclaimed producer and Marvel Studios Executive Vice President of Physical Production Victoria Alonso.

“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create truly remarkable imagery in a variety of media,” said Mike Chambers, VES Chair.  “We are seeing best in field work that elevates the art of storytelling and engages the audience in new and innovative ways.  The VES Awards is the only venue that showcases and honors these outstanding artists across a wide range of disciplines, and we are extremely proud of all our nominees!”

“The VES Student Award presented by Autodesk spotlights the year’s most stellar work from budding VFX artists and innovators around the world, and we’re proud to be a sponsor of the award again this year. The nominees’ submissions are outstanding, and we look forward to collaborating with this fantastic organization to recognize and celebrate this next generation of filmmakers,” said Chris Bradshaw, Autodesk’s Senior Vice President, Media & Entertainment, Education Experiences, and Impact.

The nominees for the 15th Annual VES Awards in 24 categories are as follows:

Outstanding Visual Effects in a Photoreal Feature

Doctor Strange
Stephane Ceretti
Susan Pickett
Richard Bluff
Vincent Cirelli
Paul Corbould

Fantastic Beasts and Where to Find Them
Christian Manz
Olly Young
Tim Burke
Pablo Grillo
David Watkins

Miss Peregrine’s Home For Peculiar Children
Frazer Churchill
Hal Couzens
Andrew Lockley
Jelmer Boskma
Hayley Williams

Rogue One: A Star Wars Story
John Knoll
Erin Dusseault
Hal Hickel
Nigel Sumner
Neil Corbould

The Jungle Book
Robert Legato
Joyce Cox
Andrew R. Jones
Adam Valdez
JD Schwalm

Outstanding Supporting Visual Effects in a Photoreal Feature

Kevin Baillie
Sandra Scott
Brennan Doyle
Viktor Muller
Richard Van Den Bergh

Deepwater Horizon
Craig Hammack
Petra Holtorf-Stratton
Jason Snell
John Galloway
Burt Dalton

Jason Bourne
Charlie Noble
Dan Barrow
Julian Gnass
Huw Evans
Steve Warner

Pablo Helman
Brian Barlettani
Ivan Busquets
Juan Garcia
R. Bruce Steinheimer

Michael Owens
Tyler Kehl
Mark Curtis
Bryan Litson
Steven Riley

Outstanding Visual Effects in an Animated Feature

Finding Dory
Angus MacLane
Lindsey Collins- p.g.a.
John Halstead
Chris J. Chapman

Kubo and the Two Strings
Travis Knight
Arianne Sutner
Steve Emerson
Brad Schiff

Kyle Odermatt
Nicole P. Hearon
Hank Driskill
Ian Gooding

The Little Prince
Mark Osborne
Jinko Gotoh
Pascal Bertrand
Jamie Caliri

Scott Kersavage
Bradford S. Simonsen
David Goetz
Ernest J. Petti

Outstanding Visual Effects in a Photoreal Episode

Black Mirror; Playtest
Justin Hutchinson-Chatburn
Russell McLean
Grant Walker
Christopher Gray

Game of Thrones; Battle of the Bastards
Joe Bauer
Steve Kullback
Glenn Melenhorst
Matthew Rouleau
Sam Conway

Stranger Things; Demogorgon
Marc Kolbe
Aaron Sims
Olcun Tan

The Expanse; Salvage
Robert Munroe
Clint Green
Kyle Menzies
Tom Turnbull

Westworld; The Bicameral Mind
Jay Worth
Elizabeth Castro
Bobo Skipper
Gustav  Ahrén 

Outstanding Supporting Visual Effects in a Photoreal Episode

Black Sails; XX
Erik Henry
Terron Pratt
Aladino Debert
Yafei Wu
Paul Stephenson

Penny Dreadful; The Day Tennyson Died
James Cooper
Bill Halliday
Sarah McMurdo
Mai-Ling Lee

Roots; Night One
Simon Hansen
Paul Kalil
Theo le Roux Preist
Wicus Labuschagne
Max Poolman

The Man in the High Castle; Volkshalle
Lawson Deming
Cory Jamieson
Casi Blume
Nick Chamberlain

Vikings; The Last Ship
Dominic Remane
Mike Borrett
Ovidiu Cinazan
Paul Wishart
Paul Byrne

Outstanding Visual Effects in a Real-Time Project

Call of Duty: Infinite Warfare
Brian Horton
Keith Pope
David Johnson
Tobias Stromvall

Dishonored 2; Crack in the Slab
Sebastien Mitton
Guillaume Curt
Damien Laurent
Jean-Luc Monnet

Fantastic Beasts and Where to Find Them; Virtual Reality
Andy Rowans-Robinson
Karen Czukerberg
John Montefusco
Corrina Wilson
Resh Sidhu

Gears of War 4
Kirk Gibbons
Zoe Curnoe
Aryan Hanbeck
Colin Penty

Quantum Break
Janne Pulkkinen
Elmeri Raitanen
Matti Hamalainen
Ville Assinen

Uncharted 4
Bruce Straley
Eben Cook
Iki Ikram

Outstanding Visual Effects in a Commercial

Coke Mini; A Mini Marvel
Vincent Cirelli
Michael Perdew
Brendan Seals
Jared Simeth

For Honor
Maxime Luere
Leon Berelle
Dominique Boidin
Remi Kozyra

John Lewis; Buster the Boxer
Diarmid Harrison-Murray
Hannah Ruddleston
Fabian Frank
William Laban

Titanfall 2; Become One
Dan Akers
Tiffany Webber
Chris Bedrosian

Waitrose; Coming Home
Jonathan Westley -Wes-
Alex Fitzgerald
Jorge Montiel
Adam Droy

Outstanding Visual Effects in a Special Venue Project

Dream of Anhui
Chris Morley
Lee Hahn
Alex Hessler
Kent Matheson

Pirates of the Caribbean; Battle for the Sunken Treasure
Bill George
Amy Jupiter
Hayden Landis
David Lester

Soarin’ Over the Horizon
Marianne McLean
Bill George
Hayden Landis
Dorne Huebler
Thomas Tait

Skull Island: Reign of Kong
John Gibson
Arish Fyzee
Sachin Shrestha
Anshul Mathuria

Voyage of Time: The IMAX Experience
Dan Glass
Brett Harding
Tom Debenham
Brian Delmonico
Matt Pulliam

Outstanding Animated Performance in a Photoreal Feature

Fantastic Beasts and Where to Find Them; Niffler
Laurent Laban
Gabriel Beauvais-Tremblay
Luc Girard
Romain Rico

Rogue One: A Star Wars Story; Grand Moff Tarkin
Sven Jensen
Jee Young Park
Steve Walton
Cyrus Jam

The Jungle Book; King Louie
Paul Story
Dennis Yoo
Jack Tema
Andrei Coval

The Jungle Book; Shere Khan
Benjamin Jones
Julio Del Rio Hernandez
Jake Harrell
James Hood

Warcraft; Durotan
Sunny Wei
Brian Cantwell
Brian Paik
Jee Young Park

Outstanding Animated Performance in an Animated Feature

Finding Dory; Hank
Jonathan Hoffman
Steven Clay Hunter
Mark Piretti
Audrey Wong

Kubo and the Two Strings; Kubo
Jeff Riley
Ian Whitlock
Adam Lawthers
Jeremy Spake

Kubo and the Two Strings; Monkey
Andy Bailey
Dobrin Yanev
Kim Slate
Jessica Lynn

Moana; The Mighty Maui
Mack Kablan
Nikki Mull
Matthew Schiller
Marc Thyng

Outstanding Animated Performance in an Episode or Real-Time Project

Call of Duty: Infinite Warfare; Omar
Bernardo Antoniazzi
Aaron Beck
Jason Greenberg
Chris Barnes

Fantastic Beasts and Where to Find Them
John Montefusco
Michael Cable
Shayne Ryan
Andy Rowan-Robinson

Game of Thrones; Battle of the Bastards; Drogon
James Kinnings
Michael Holzl
Matt Derksen
Joeseph Hoback

Game of Thrones; Home; Emaciated Dragon
Sebastian Lauer
Jonathan Symmonds
Thomas Kutschera
Anthony Sieben

Outstanding Animated Performance in a Commercial

John Lewis; Buster the Boxer
Tim van Hussen
David Bryan
Chloe Dawe
Maximillian Mallman

Opel Motorsport; Racing Faces; Lion
Jorge Montiel
Jacob Gonzales
Sauce Vilas
Alberto Lara

SSE; Neon House; Baby Pixel
Jorge Montiel
Daniel Kmet
Sauce Vilas
Peter Agg

Waitrose; Coming Home
Jorge Montiel
Nick Smalley
Andreas Graichen
Alberto Lara

Outstanding Created Environment in a Photoreal Feature

Deadpool; Freeway Assault
Seth Hill
Jedediah Smith
Laurent Taillefer
Marc-Antoine Paquin

Doctor Strange; London
Brendan Seals
Raphael A. Pimentel
Andrew Zink
Gregory Ng

Doctor Strange; New York City
Adam Watkins
Martijn van Herk
Tim Belsher
Jon Mitchell

Rogue One: A Star Wars Story; Scarif Complex
Enrico Damm
Kevin George
Olivier Vernay-Kim
Yanick Dusseault

Outstanding Created Environment in an Animated Feature

Finding Dory; Open Ocean Exhibit
Stephen Gustafson
Jack Hattori
Jesse Hollander
Michael Rutter

Kubo and the Two Strings; Hanzo’s Fortress
Phil Brotherton
Nick Mariana
Emily Greene
Joe Strasser

Kubo and the Two Strings; Waves
David Horsley
Eric Wachtman
Daniel Leatherdale
Takashi Kuboto

Moana; Motonui Island
Rob Dressel
Andy Harkness
Brien Hindman
Larry Wu

Outstanding Created Environment in an Episode, Commercial, or Real-Time Project

Black Sails; XXVIII; Maroon Island
Thomas Montminy-Brodeur
Deak Ferrand
Pierre Rousseau
Mathieu Lapierre

Dishonored 2; Clockwork Mansion
Sebastien Mitton
Guillaume Curt
Damien Laurent
Jean-Luc Monnet

Game of Thrones; Battle of the Bastards; Meereen City
Deak Ferrand
Dominic Daigle
François Croteau
Alexandru Banuta

Game of Thrones; The Winds of Winter; Citadel
Edmond Engelbrecht
Tomoka Matsumura
Edwin Holdsworth
Cheri Fojtik

The Man in the High Castle; Volkshalle
Casi Blume
David Andrade
Nick Chamberlain
Lawson Deming

Outstanding Virtual Cinematography in a Photoreal Project

Doctor Strange; New York Mirror Dimension
Landis Fields
Mathew Cowie
Frederic Medioni
Faraz Hameed

Game of Thrones; Battle of the Bastards
Patrick Tiberius Gehlen
Michelle Blok
Christopher Baird
Drew Wood-Davies

Rogue One: A Star Wars Story; Space Battle
John Levin
Euisung Lee
Steve Ellis
Barry Howell

The Jungle Book
Bill Pope
Robert Legato
Gary Roberts
John Brennan

Outstanding Model in a Photoreal or Animated Project

Deepwater Horizon; Deepwater Horizon Rig
Kelvin Lau
Jean Bolte
Kevin Sprout
Kim Vongbunyong

Rogue One: A Star Wars Story; Princess Leia
Paul Giacoppo
Gareth Jensen
Todd Vaziri
James Tooley

Rogue One: A Star Wars Story; Star Destroyer
Jay Machado
Marko Chulev
Akira Orikasa
Steven Knipping

Star Trek Beyond; Enterprise
Daniel Nicholson
Rhys Salcombe
Chris Elmer
Andreas Maaninka

Outstanding Effects Simulations in a Photoreal Feature

Alice Through the Looking Glass; Rust
Klaus Seitschek
Joseph Pepper
Jacob Clark
Cosku Turhan

Doctor Strange; Hong Kong Reverse Destruction
Florian Witzel
Georges Nakhle
Azhul Mohamed
David Kirchner

Rogue One: A Star Wars Story; Jedha Destruction
Miguel Perez Senent
Matt Puchala
Ciaran Moloney
Luca Mignardi

The Jungle Book; Nature Effects
Oliver Winwood
Fabian Nowak
David Schneider
Ludovic Ramisandraina

Outstanding Effects Simulations in an Animated Feature

Finding Dory
Stephen Gustafson
Allen Hemberger
Joshua Jenny
Matthew Kiyoshi Wong

Kubo and the Two Strings; Water
David Horsley
Peter Stuart
Timur Khodzhaev
Terrance Tornberg

Marc Henry Bryant
David Hutchins
John M. Kosnik
Dale Mayeda

Nicholas Burkard
Moe El-Ali
Claudia Chung Sanii
Thom Wickes

Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project

Game of Thrones; Battle of the Bastards
Kevin Blom
Sasmit Ranadive
Wanghua Huang
Ben Andersen

Game of Thrones; Battle of the Bastards; Meereen City
Thomas Hullin
Dominik Kirouac
James Dong
Xavier Fourmond

John Lewis; Buster the Boxer
Diarmid Harrison-Murray
Tushar Kewlani
Radu Ciubotariu
Ben Thomas

Sky; Q
Michael Hunault
Gareth Bell
Paul Donnellan
Joshua Curtis

Outstanding Compositing in a Photoreal Feature

Doctor Strange; New York City
Matthew Lane
Jose Fernandez
Ziad Shureih
Amy Shepard

Independence Day: Resurgence; Under The Mothership
Mathew Giampa
Adrian Sutherland
Daniel Lee
Ed Wilkie

The Jungle Book
Christoph Salzmann
Masaki Mitchell
Matthew Adams
Max Stummer

X-Men: Apocalypse; Quicksilver Rescue
Jess Burnheim
Alana Newell
Andy Peel
Matthew Shaw

Outstanding Compositing in a Photoreal Episode

Black Sails; XX; Sailing Ships
Michael Melchiorre
Kevin Bouchez
Heather Hoyland
John Brennick

Game of Thrones; Battle of the Bastards; Meereen City
Thomas Montminy-Brodeur
Patrick David
Michael Crane
Joe Salazar

Game of Thrones; Battle of the Bastards; Retaking Winterfell
Dominic Hellier
Morgan Jones
Thijs Noij
Caleb Thompson

Game of Thrones; The Door; Land of Always Winter
Eduardo Díaz
Aníbal Del Busto
Angel Rico
Sonsoles López-Aranguren

Outstanding Compositing in a Photoreal Commercial

Canal; Kitchen
Dominique Boidin
Leon Berelle
Maxime Luere
Remi Kozyra

John Lewis; Buster the Boxer
Tom Harding
Alex Snookes
David Filipe
Andreas Feix

Kenzo; Kenzo World
Evan Langley
Benjamin Nowak
Rob Fitzsimmons
Phylicia Feldman

LG; World of Play
Jay Bandlish
Udesh Chetty
Carl Norton

Waitrose; Coming Home
Jonathan Westley -Wes-
Gary Driver
Milo Paterson
Nina Mosand

Outstanding Visual Effects in a Student Project

Breaking Point
Johannes Franz
Nicole Rothermel
Thomas Sali
Alexander Richter

Adrian Meyer
Lena-Carolin Lohfink
Denis Krez
David Bellenbaum

Garden Party
Victor Caire
Gabriel Grapperon
Théophile Dufresne
Lucas Navarro

Mareike Keller
Dennis Mueller
Meike Mueller

For more information on the 15th Annual VES Awards CLICK HERE



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Rodeo FX Works its Magic for ‘Fantastic Beasts and Where to Find Them’

2016-12-22 13:01:03 ccwire-staff

Rodeo FX delivered 126 visual effects shots for Fantastic Beasts and Where to Find Them, including many featured creatures and their environments, the magical reconstruction of a destroyed room, and MACUSA – the elaborate headquarters of the wizarding world.

Helmed by David Yates, who directed four Harry Potter movies, Fantastic Beasts is a spinoff to the Harry Potter series written by J.K. Rowling. When a wizard, Newt Scamander (Eddie Redmayne), loses his magical suitcase full of enchanted creatures during a visit to New York, he and his new friends must chase them down and try to recapture them.

A “Niffler”

Assembling a Creature Pipeline
Newt and his friends are able to enter the world of the fantastic beasts through his enchanted suitcase. To build this magical environment, Rodeo FX brought to life a host of beasts, including a Murtlap, a Nundu, Doxies, Butterflies, Gloworms, Grindelows, a family of Diricawls, and adorable Mooncalves.

“Our first significant creature work was done on The Legend of Tarzan. The team did such a great job that Warner Bros. welcomed our bid for Fantastic Beasts” said Arnaud Brisebois, VFX supervisor at Rodeo FX. “The studio recognized our capabilities and trusted us to successfully deliver on this film.”

Brisebois knew that every creature had to be designed within their unique environment with realistic features that audiences would believe to be true. His team was faced with the challenge of mixing diverse anatomical features and traits to invent creature features never before seen on any real animal.

Reconstruction of Jacob’s apartment
After the beasts escape from Newt’s suitcase, they destroy Jacob’s (Dan Fogler) apartment. Newt rebuilds the room using magic, which challenged Rodeo FX to simulate the reconstruction with more digital wizardry of its own. Starting with an environment full of debris, dust, and flying rubble, the artists had to revert the action by pulling the pieces back together. Rather than simply reversing the simulated destruction, they recreated each broken asset individually, defining its trajectory and velocity as the room is reassembled so that it looks like magic at work.

“It was a pleasure to work with Arnaud and the talented team at Rodeo FX on Fantastic Beasts and Where to Find Them,” said Christian Manz, production VFX supervisor. “Their contribution to the Newt’s Case sequence was truly beautiful and the extensions to MACUSA seamless. I look forward to working with everybody again. Well done!”

To see slide shots of before and after visit RodeoFX.

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A Peculiar Bee Movement

2016-11-25 13:43:55 ccwire-staff

Tim Burton’s Miss Peregrine’s Home for Peculiar Children,  stars Eva Green, Judi Dench and Samuel L. Jackson, and is the story of Jake Portman, and his journey into a mystery that spans different worlds and times.  He finds Miss Peregrine’s Home for Peculiar Children, where mystery and danger deepen as he gets to know the residents and learns about their special powers.

hughOne of Us, led by supervisors Dominic Parker and Emmanuel Picherau, were tasked with the character of Hugh (Milo Parker). Hugh’s peculiarity is that he is inhabited by bees. In some sequences these bees are calm, tumbling out as he opens his mouth, a few simply circling him. In others, Hugh wears a beard of bees at a carnival side-show. When the children are under attack, he uses his bees as a weapon, sending out a swarm to attack his assailants.

The beard itself was made up of around a hundred bees, wriggling and crawling over each other, each a variation on OOU’s model of a Honey Bee. The team animated the bee swarms to exhibit benign behaviours, going about their everyday business, except when directed by Hugh to go on the offensive. How the bees behaved depended very much on the mood of the scene.

FXGuide interviews One of Us supervisor’s Dominic Parker and Emmanuel Picherau – read the full interview here.

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VFX Wizards Bring "Dr. Strange" Into the Real World

2016-11-16 13:46:55 ccwire-staff

As one of the most powerful sorcerers in the world, Marvel’s Doctor Strange and his cosmic, reality-bending abilities was one of the greatest challenges presented to production and post teams thus far in figuring out how to bring the character to the big screen for Marvel/Disney Studios. Behind director Scott Derrickson (Deliver Us From Evil, The Exorcism of Emily Rose) was a talented team that included star Benedict Cumberbatch ( The Imitation Game, Star Trek Into Darkness), DP Ben Davis ( Guardians of the Galaxy), editors Wyatt Smith ( Thor: The Dark World) and Sabrina Plisco ( The Smurfs, TV’s Devious Maids) and Oscar-nominated VFX supervisor and Marvel alumnus Stephane Ceretti ( Guardians of the Galaxy, Thor: The Dark World, Captain America: The First Avenger and X-Men: First Class).

As the story of the good doctor unfolds, audiences learn about the talented neurosurgeon Doctor Stephen Strange and how, after a tragic car accident destroys his hands, he must learn the secrets of a hidden world of mysticism and alternate dimensions while relying on his skills to juggle the real world and beyond. The film, which was shot in a number of locations, including New York; Kathmandu, Nepal; Hong Kong; and in Pinewood Studios and Longcross Studios in the UK, on Arri Alexa 65 cameras, was largely made possible through the combined mastery of such VFX wizards as ILM, Luma, Method and Framestore (along with Rise, Lola, Crafty Apes, 3D conversion by StereoD and previs from The Third Floor) all under the leadership of Ceretti.

Read the full story at POST.

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A Dozen Series Return for More VFX from FuseFX

2016-11-10 22:50:46 artisanspr

LOS ANGELES— FuseFX continues  to create visual effects for some of the most popular shows on television including 12 series returning to the company for the current season. They include American Horror Story, for which FuseFX won a 2015 Emmy Award. Work on the series is distributed among production facilities in Los Angeles, New York and Vancouver.

Series returning to FuseFX include:

Agents of S.H.I.E.L.D., the action series produced by Marvel Studios and Walt Disney Television for  ABC. VFX by FuseFX, Los Angeles.

American Horror Story: Roanoke, the horror series produced by Ryan Murphy Productions for FX. VFX by FuseFX, Los Angeles.

Empire, the drama produced by Lee Daniels Entertainment for Fox. VFX by FuseFX, Los Angeles.

Criminal Minds, the crime drama produced by CBS Television Studios and the Mark Gordon Company for CBS. VFX by FuseFX, Los Angeles.

Scorpion, the action series produced by CBS Television Studios for CBS . VFX by FuseFX, Los Angeles.

Salem, the fantasy thriller produced by 20th Century Fox and Tribune Studios for WGN. VFX by FuseFX, Los Angeles and Vancouver.

Scream Queens, the horror comedy produced by Ryan Murphy Productions for Fox. VFX by FuseFX, Los Angeles.

The Walking Dead, the horror series produced by AMC Studios for AMC. VFX by FuseFX, Los Angeles.

Impastor, the comedy produced by TVLand Original Productions for TV Land.  VFX by FuseFX, Vancouver.

Dark Matter, the sci-fi drama produced by Blue Penguin for Syfy. VFX by FuseFX, Vancouver.

Mom, the comedy produced by Warner Bros. Television for CBS. VFX by FuseFX, Los Angeles.

Rosewood, the crime drama produced Temple Hill Productions and Nickel Productions for Fox. VFX by FuseFX, Los Angeles.

About FuseFX

FuseFX is a full-service visual effects studio serving the television, feature film and advertising industries from facilities in Los Angeles, New York and Vancouver. Founded in 2006 by David Altenau, the company encompasses a crew of more than 300 highly talented and experienced artists, producers and support personnel. Using its refined, custom database and pipeline, the company can accommodate numerous, high shot-count productions while delivering high-quality, on-time results.

For more information, visit

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Creating new worlds for Amazon’s "The Man in the High Castle"

2016-09-29 22:07:55 ccwire-staff

What if Germany and Japan had won World War II? What would the world look like? That is the premise of Philip K. Dick’s 1963 novel and Amazon’s series, The Man in the High Castle, which is currently gearing up for its second season premiere in December.

The Man in the High Castle features familiar landmarks with unfamiliar touches. For example, New York’s Time Square has its typical billboards, but sprinkled in are giant swastika banners, images of Hitler and a bizarro American flag, whose blue stripes have been replaced with yet another swastika. San Francisco, and the entire West Coast, is now under Japanese rule, complete with Japanese architecture and cultural influences. It’s actually quite chilling.

Helping to create these “new” worlds was Zoic Studios, whose team received one of the show’s four Emmy nods for its visual effects work. That team was led by visual effects supervisor Jeff Baksinski.

Zoic’s path to getting the VFX gig was a bit different than most. Instead of waiting to be called for a bid, they got aggressive… in the best possible way. “Both myself and another supervisor here, Todd Shifflett, had read Dick’s book, and we really wanted this project.”

Read the full story and interview by postPerspective’s Randi Altman here.

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MPC VFX supervisor Dave Seager discusses his studio’s work on "Ghostbusters"

2016-09-08 22:07:21 ccwire-staff

While Paul Feig’s Ghostbusters might not have been the box office blockbuster some had hoped, no one can deny the quality of visual effects featured in the film.

Although a number of studios contributed to Ghostbuster’s VFX — including Sony Imageworks and Iloura — we recently reached out to MPC VFX supervisor Dave Seager to discuss his studio’s work on the film. Seager joined Ghostbusters almost a full year before its delivery in the spring 2016.

Seager and his team at MPC started visual effects pitch work that ultimately led to the creation of the proton streams and the villain in the film’s climax scenes.

To find out more about their process, how drones were used in the making of ghosts, and the best part about working on a Ghostbusters click here.

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Rising Sun Pictures Delivers VFX for “Game of Thrones” Finale

2016-07-25 13:18:31 artisanspr

RSP LOgo 2013

Adelaide, South Australia— For the finale of season six of HBO’s smash hit Game of Thrones¸ Rising Sun Pictures faced a formidable challenge: replicate the sprawling city of King’s Landing and its central shrine, the Great Sept of Baelor, and then burn them to the ground in a magical, green-hued inferno.

New to the Game of Thrones production team, RSP created visual effects for several episodes of the show’s recently-concluded season. Most of the work centered on King’s Landing and the Sept as artists produced photo-realistic CG environments, set extensions and architectural enhancements that were blended with location footage to create the luxurious, walled city overlooking the sea.


“King’s Landing is based on Dubrovnik, a Croatian city on the Adriatic that has many beautiful, medieval buildings,” recalls RSP VFX Producer Richard Thwaites. “A lot of our early work involved wide views of the city, as well as internal and external views of the Sept (which is based on Fort Manoel in the Maltese town of Gżira).” For several of those shots, artists filled city environments with animated digital crowds, representing the townsfolk and members of a religious cult led by the High Sparrow.

The goal throughout was not only to match the look of the practical locations, but to do so in a way that appeared thoroughly real. “Game of Thrones is a fantasy, but the aesthetic is highly realistic,” explains VFX Supervisor Hubert Maston. “The realism carries through in the design, the weight and dimension of the architecture and the atmosphere of the environments.”

In the season finale, the Great Sept of Baelor and large parts of King’s Landing are destroyed as the widowed queen Cersei Lannister exacts revenge on her rivals. A pool of wildfire below the Sept ignites, causing an explosion that fills its tunnels with flames. The blast brings down statues of the city’s seven kings. Everyone inside the building is killed and the Sept collapses. Nearby structures are also engulfed in the inferno.



“One reason that the scene is so shocking is that it seems so real,” says Thwaites. “The explosion happens from inside out and seems so powerful that you believe it can take out everything in its surroundings.”

Achieving that level of realism was made more difficult by the wildfire’s signature green hue. “The fire you are used to seeing is a mix of very hot colors…orange, yellow, bright red,” explains Maston. “When you turn it green, it doesn’t seem so hot. We had to completely reimagine it to create fire that looks like fire and yet not like fire at the same time. We remapped the light, color and texture and, through trial and error, came up with a look that is both aesthetically pleasing and convincing.”

The explosion also causes the demise of the High Sparrow. Flames burst through the Sept’s mosaic floor, incinerating him. “It’s a fully digital replacement,” notes Thwaites. “It has muscle, skin, bones and internal organs…all of which blow up in just a few frames.”

“The fire works its way through his body in layers,” Maston adds. “You see his skin peeling off and bones breaking off. It was pretty gruesome.”

The initial airing of the finale drew the largest audience in the show’s history. Rising Sun Pictures did its part to ensure loyal fans had plenty to marvel at.



To view RSP’s VFX Breakdowns of their work on Game of Thrones, visit

About Rising Sun Pictures:

At Rising Sun Pictures (RSP) we create inspirational visual effects for major studios worldwide. Creating outstanding images is at the core of our existence. At the heart of our talented team, there is a diverse knowledge and skill-set, enabling a collaborative core where we can work together to solve problems and deliver great visuals to our clients. We have achieved some truly amazing visual effects work by providing innovative solutions to technically challenging work. We have the capacity and talent pool to scale to suit the needs of our clients.

Our extensive filmography includes over 100 projects, including X-Men: Apocalypse, Game of Thrones Season 6, The Legend of Tarzan, Gods of Egypt, Pan, X-Men: Days of Future Past, The Hunger Games franchise, the Harry Potter franchise, Gravity, The Wolverine, Prometheus and The Great Gatsby.

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FuseFX Applies an Inspired Touch to AMC’s “Preacher”

2016-07-20 07:50:07 artisanspr

fuse-fxLOS ANGELES—LOS ANGELES—Visual effects production for the first season of AMC’s drama Preacher is in high gear at FuseFX, Los Angeles, as artists work to enhance the series’ ample servings of supernatural mayhem. The pilot episode alone featured more than 250 VFX shots with a high degree of integration that achieves a seamless marriage between the practical photography and the digital effects.

A co-production of Sony Pictures Television and AMC Studios, Preacher is based on the popular 1990s Vertigo/DC Comics comic book series (created by writer Garth Ennis and artist Steve Dillon) and was developed for television by Seth Rogen & Evan Goldberg (“This Is the End,” “Superbad,” “Neighbors”) and showrunner Sam Catlin (“Breaking Bad”).  The series follows a Texas preacher named Jessie Custer who is inhabited by a mysterious entity called Genesis that gives him the power to make people do whatever he commands. Once this power attracts the attention of two mysterious angels, Fiore and DeBlanc, Jesse, his badass ex-girlfriend Tulip, and an Irish vampire named Cassidy are thrust into a crazy world populated by a cast of characters from Heaven, Hell and everywhere in between.


FuseFX’s Kevin Lingenfelser serves as Production and Facility VFX Supervisor on the series (Paul Linden was Production VFX Supervisor for the pilot.), with Casey Conroy as VFX Producer. They lead a compact but focused team of animators, visual effects artists and compositors whose work includes FX simulations, CG animals, blue screen/green screen composites, digital set extensions, fully-realized matte paintings, CG chainsaw blades, muzzle flashes, and elaborate blood and gore, or as Lingenfelser puts it, “everything AND the kitchen sink.”

Lingenfelser explains his passion for the project by noting that he has been anxiously waiting for Preacher to come to the screen since the comic first published in 1995. “I’m a huge fan,” he says. “When I learned that Evan Goldberg, Seth Rogen and Sam Catlin were turning it into a television series, I knew I had to be part of it.”

Preacher includes a large number and variety of visual effects shots, and while many are complex, few are obvious.  Many of the shots span hundreds and hundreds of frames, which for TV is an eternity.  For the pilot, FuseFX’s task list included a lengthy fight scene—carried on with spears, knives, swords, crossbows and golf clubs—in the cabin of a Learjet. Digital elements included flames, breaking glass, penetration wounds and lots of blood.

“The scene was shot without a single drop of blood during the fight,” notes Lingenfelser.  “All the contact hits had to be sold through a very tedious compositing process using existing practical blood elements. We also added CG crossbow bolts, a spear, a machete blade and a champagne bottle put to unique use.”


“At the same time, we added sky with moving atmosphere outside the windows to show the direction of flight,” he adds, “all the while going from the dead of night to full sunrise over the course of 66 cuts.”

The pilot included a second fight inside Tulip’s Chevelle racing through a cornfield.  The cornfield scene was shot in Holtsville, California and doubled as Kansas once the palm trees and other anachronistic flora were digitally removed and replaced with a CG cornfield in a sweeping drone aerial.  Background plates were shot using a wasp camera rig mounted on the hood of a Hummer. Five camera heads provided a full 270-degree field of view as the Hummer plowed through the cornfield in several passes.  Those were than stitched together and composited over blue-screen plates of the actors fighting in the backseat of the Chevelle.

One recurring effect is Custer’s faded white clapboard church. The church featured in the pilot was built on location in Estancia, New Mexico and was a rectangular partial set with two finished sides and no roof or steeple. FuseFX artists created the roof and steeple (which was spatially offset to left side of the roof rather than in the traditional center position) as a CG asset and it was composited into some 20 shots. After the series was green-lit, the church was reimagined to look more like the one featured in the original comics and required no CG augmentation. It was built to scale on location on New Mexico State land behind Albuquerque Studios.

“But the new church meant, for continuity’s sake, that the building in the pilot had to be replaced,” Lingenfelser notes. “Over the course of numerous trips to Albuquerque, I was able to take hi-res still images of the new church, taking into consideration the necessary angles and lighting required to composite them over the church in the pilot.”


The pilot’s opening sequence was implemented as a fully digital sequence and was produced in its entirety by the FuseFX team. It is a view from space of a comet that is the source of Custer’s otherworldly powers, which careens through the solar system and passes through the rings of Saturn before crashing into central Africa.

Lingenfelser explains that the sequence is meant to recall science fiction films of a bygone era. “It’s an interesting combination of a retro look with a complex effects simulation,” Lingenfelser explains. “We created the rings of Saturn as well as the debris that explodes when the comet punches through. It’s a fun sequence.”

For the most part, FuseFX is focused on creating effects that are meant to improve scenes without drawing attention to themselves. “If the visual effects are invisible to the audience, that’s fine by me,” Lingenfelser says. “Everything we do is done to serve the story. If we keep viewers’ attention on what’s happening to the characters, we’ve done our job.”

About FuseFX

FuseFX is a full-service visual effects studio serving the television, feature film and advertising industries from facilities in Los Angeles, New York and Vancouver. Founded in 2006 by David Altenau, the company encompasses a staff of more than 100 highly talented and experienced artists, producers and support personnel. Using its refined, custom database and pipeline, the company can accommodate numerous, high shot-count productions while delivering high-quality, on-time results.

For more information, visit

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Rising Sun Pictures Extends Its Mastery over Time in “X-Men: Apocalypse”

2016-06-06 15:12:25 artisanspr

RSP LOgo 2013

Adelaide, South AustraliaX-Men: Apocalypse, the latest entrant in Twentieth Century Fox’s popular superhero franchise, features more time-bending magic from Australia’s Rising Sun Pictures. The visual effects studio contributed to several key sequences in the film, most notably an electrifying scene where Quicksilver (Evan Peters) uses his hyper-speed ability to rescue students from an exploding mansion.

Quicksilver’s Rescue builds on a notable scene from the preceding X-Men: Days of Future Past where the character races around a Pentagon cafeteria to prevent security guards from shooting a trio of X-Men. RSP’s impeccable work in making pots, pans, bullets and water drops freeze in mid-air helped the film earn an Academy Award nomination for Best Visual Effects.

The new film takes Quicksilver’s superhero antics to a new level. As an explosion rips through Professor Xavier’s School for Gifted Youngsters, the speedy mutant races from room to room rescuing students (while pausing to sip a soda and consume a slice of pizza) with everything set to the Eurythmics classic Sweet Dreams (Are Made of This). Where the last time the trick included choreographing thousands of falling water drops, this time it was particles of exploding debris, giant fire balls and one very lucky dog.


RSP’s team, led by Visual Effects Supervisors Tim Crosbie and Dennis Jones and working under the direction of Director Bryan Singer and Production Visual Effects Supervisors John Dykstra and Matt Sloan, had the advantage of having worked with Quicksilver before, but faced the challenge of exceeding their previous, award-winning effort. “For the last film, we had to figure out what makes Quicksilver tick, how to get it on film and how to make it believable,” notes Jones. “But we were lucky, because it all happened in one room. This time, he moves through ten locations each with a unique story point. Everything is bigger and bolder.”

The transition from real time to “Quicksilver time” occurs just as the explosion that will take down the school begins to erupt. A car carrying Cyclops and Nightcrawler slows to a near halt. Bees freeze in midair. That part of the sequence was created by knitting together several motion control plates, shot at high frame rate, with digital mansion and bee elements, and pyrotechnics.


At that point Quicksilver appears (moving in apparent real time). He saves a group of kids in the building’s lobby by tossing them out a window. As the students fly away, they slow down. “Each of the characters had to be stabilized, repositioned and frozen in time,” recalls Jones. “The room is filled with frozen debris and, in the background, a fireball is approaching through a hallway. In terms of challenges, that scene had it all.”

Live action elements for the various rooms were shot on practical sets, but as the explosion proceeded, parts of rooms needed to be replaced with digital elements showing them being torn apart. In fact, the entire process of the explosion was carefully choreographed. “In the initial shots, a pressure wave moves through the building, carrying with it debris and a nice, velvety buffer of dust,” notes Jones. “By the end of the sequence the dust is gone and we are left with a naked, oily fireball.”

Managing massive amounts dust, fire and debris, slowed down more than 1000 times required tremendous computing power and data management, and efficient workflow design. But it wasn’t all number crunching; artists also got to indulge in bits of fun. Quicksilver is a whimsical character and punctuates his life-saving work by pausing to eat and drink, and otherwise toy with his immobile environment. RSP artists manipulated Quicksilver’s surroundings to heighten the comic effect. “We looked for ways to ratchet up the sense of danger,” Jones explains. “Quicksilver is a very playful guy, but he’s always operating right at the limit. If he does one more moon walk or pulls one more gag, someone is going to die.”


One of Quicksilver’s last-minute rescues is a dog (played by Bryan Singer’s pet boxer). Jones notes that the team relished the opportunity to send the canine on his way, his ears flapping and tongue wagging in super slow motion. “That’s the dream,” he says. “You forget about all the nuts and bolt and focus on telling a good story.”

RSP created a number of other effects for the film including one where a young Cyclops accidentally destroys a tree that had been a favorite of Professor Xavier. The digital mansion that the studio built recurs at several points in the film. But for sheer energy and visual fun, Quicksilver’s Rescue is most likely to impress audiences. It’s a real show stopper (no pun intended).


About Rising Sun Pictures:

Rising Sun Pictures are a passionate team of producers, artists and technicians, known globally for delivering complex visual effects on high profile feature film and television projects. Our clients are inspired by the creative and technical solutions we deliver, and our team is integral in providing a truly collaborative experience. RSP is currently working on Pan, Tarzan and Gods of Egypt, with recent film credits including X-Men: Days of Future Past, Gravity, The Seventh Son, The Wolverine, The Great Gatsby, The Hunger Games, Prometheus, Journey 2: The Mysterious Island, Green Lantern and the final five Harry Potter films.

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FuseFX Applies Military Muscle to FX’s “Tyrant”

2016-04-11 15:17:19 artisanspr

fuse-fxBURBANK— FuseFX is currently creating visual effects for season three of FX’s Middle East drama Tyrant. VFX Supervisor Ted Rae leads a veteran team of artists tasked with enhancing the show’s international settings  and intensifying the combat scenes.

Created by executive producers of Homeland, Howard Gordon and Gideon Raff, Tyrant tells the story of the son of the ruler of a fictional Middle Eastern country who returns home and gets caught up in a conflict with the Army of the Caliphate. The show has drawn critical praise and a growing legion of fans for its dramatic action, nuanced story and strong performances. “Tyrant’s success has been phenomenal,” says Co-Producer Sean Sforza. “We’ve enjoyed network support from FX who’ve given us the leeway to tell a different kind of story.”


FuseFX joined the show with episode five of season two, “Viper in the Palace.” The team created effects for a number of high intensity combat sequences, including one in which a squadron of Apache helicopters attacks jihadists entrenched in a small desert village. FuseFX created CG helicopters, explosions, shoulder-fired missiles, strafing bullets and other pyrotechnics. The sequence spanned nearly 90 shots.

“The producers encouraged us to make the action as realistic and impactful as possible, giving us a lot of freedom in designing the choreography,” recalls Rae. “Our artists love doing bullet hits, explosions and mayhem—and they really pushed themselves. The work became very visceral and greatly enhances the drama.” Other key members of the team include VFX Producer Tiffany Smith, CG Supervisor Matt Von Brock and Compositing Supervisors Andrey Drogobetski and Tommy Tran.


FuseFX’s contributions also include matte paintings and set extensions. In one instance, matte artist Mark Sullivan added digital elements to quadruple the apparent size of the Caliphate Army’s desert stronghold location. “The effects were seamless,” notes Sforza. “They remolded the landscape.”

“FuseFX not only understood what we were trying to accomplish, especially with big, pivotal scenes, they were also tuned into the story art and were focused on details in order to make the sequence better and help tell the story,” Sforza adds.

Rae sees bigger challenges ahead with season 3. “We expect it to be more ambitious,” he says, adding that the VFX team will be ready. “We are continually upgrading our CG pipeline to render faster with more detail and more physically accurate lighting. Our goal is to deliver even more hard-hitting action.”


About FuseFX

FuseFX is an Emmy Award-winning, full-service visual effects studio serving the television, feature film and advertising industries from facilities in Burbank, New York and Vancouver. Founded in 2006 by David Altenau, the company encompasses a staff of more than 100 highly talented and experienced artists, producers and support personnel. Using its refined, custom database and pipeline, the company can accommodate numerous, high shot-count productions while delivering high-quality, on-time results.

For more information, visit

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"Glimpse" at Animal Logic

2016-04-07 16:50:18 admin

Joining a strong trend amongst the world’s leading animation and visual effects companies, Animal Logic has developed its own in-house renderer, Glimpse. The name comes from its origins as the first tool for lighting leads and TDs to “have a glimpse” of what something might look like. The project grew from this early limited application to a full production renderer.

Glimpse is a unidirectional path tracer (with some specialist quasi-bidirectional aspects – see below). It is now the in-house renderer used throughout Animal Logic both in Australia and Canada. It was grown over the last 3 years into a full production renderer for both animated features and live action VFX.

Guy Griffiths, Director of R&D at Animal, is now keen to see the team get some well deserved credit, and also highlight the technical innovation inside the studio. This comes after years of the company focusing primarily on their artistic achievements rather than being known for their technical innovation. Animal Logic has grown from a TVC effects house to an animation vendor and now a major animation studio with such hits as The LEGO Movie and a real agenda of producing – not just servicing – the feature film market. The group does still have a strong VFX component with projects such as the effects in the new Allegiant film,and this is important as Glimpse is now used by the entire company.

Glimpse aims to produce the highest quality images, as any production renderer, but it is also about facilitating artists making those images and being creative. For the team Glimose has to be workable and produce art, thus ideally it is the one tool that is the same everywhere in the pipeline. “What we want is every artist sitting in front of a screen with the same embedded path tracer,” points out Griffiths. “We are pulling the renderer as close as we can into every viewport, of every artist in the company.”

Read the full story at FXGuide


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The Visual Effects of ‘Deadpool’

2016-03-23 20:20:20 ccwire-staff

With a domestic U.S. box office haul to date of over $320 million and a foreign take of over $380 million, whopping figures for a film reportedly budgeted at under $60 million, Fox’s R-rated superhero flick Deadpool is a bona fide hit. At the helm was first time director Tim Miller, a veteran animator and visual effects artist well known for, among other work, a series of short films includingAunt Luisa (2002), Rockfish (2003), A Gentlemen’s Duel (2006) and the Oscar-nominated Gopher Broke (2004) produced by the L.A. company he co-founded in 1995, Blur Studio.

Working alongside Miller on Deadpool was overall visual effects supervisor Jonathan Rothbart, himself a veteran visual effects artist whose has worked on a slew of top movies, including Avatar (2009), Iron Man (2008) and Hellboy (2004). I recently had a chance to speak with Rothbart about his work on Deadpool, it’s tremendous success and how despite the constant struggle against time and budget constraints, he managed to squeeze out 1500 great looking VFX shots, including 800 in the final month alone.

Dan Sarto: Deadpool has taken theatres by storm. It’s certainly not your father’s Marvel superhero film. It feels so fresh and of course is quite nasty-funny. Not the usual genre pic.

Jonathan Rothbart: Actually, I’m not hugely into working on superhero movies. But when I first read the script, I was laughing so hard, my wife kept on asking, “What are you laughing at?” I told her, “This script is amazing. It’s so funny.” She’s like, “I’ve never heard you laugh like that reading a script.” I said, “I know. But it’s so funny.” I really liked the script. After reading it, I knew this was something different.

DS: Oh, it’s certainly quite different. What were some of the things going through your mind as you broke down the script?

JR: The first thing I was told was that the film definitely had a shoestring budget compared to your standard visual effects movie. So that was definitely going through my mind. As I was reading and breaking the script down, I was trying to work out what and how we were going to do things in order to make the visual effects work within our budget. There was a lot of back and forth with Tim Miller [the film’s director] as far as trying to decide what we could get into our movie, what we couldn’t get into our movie, how many shots we could have, and if we shot it a certain way would we be able to get away with more. I was considering any trick we could use to get as much out of our VFX budget as we could.

DS: Getting involved so early on this film, how did your main duties change over the course of production?

JR: My work was broken down into four parts. First, there’s pre-prep, which is basically just myself, the producers, and Tim, as well as the production manager or a line producer on the show. My two areas of focus, along with my VFX producer, is one, I’m working with the director figuring out what things are going to look like, designing the looks of things, and figuring out how everything’s going to play out on screen. For example, there was a lot of conversation about what Colossus might look like. There was a lot of conversation about what NTW’s effects were going to look like as well as the carrier, all the various sets, and what our city would look like. I don’t necessarily get heavily into the design phase of things at that point, but it’s the only tangible thing you can work on. Getting through that stuff early really drives how effective you can be moving forward.

Second, you do a lot of budgeting. Lots and lots and lots of budgeting. You’re trying to figure out how much it’s going to cost us to do everything, going through and figuring out what shots to do, what shots not to do. Also, you’re developing sequences, then going back through them with Tim, the previs and storyboarding people to reshape them a bit, so that they’re more manageable for us from a budgetary standpoint.

That’s that early part. Next, you get into prep, which is really about interfacing with all the other departments to try and figure out how you’re actually going to get everything done. You’re spending a lot of time with stunts, with costumes, with the grip and lighting guys figuring out greenscreens and placement, things like that.

Then, you’re working out the course of the movie, especially when everything comes down to budget. It’s a lot of conversations about how much things will cost on-set for all of the VFX shots. I would sit in on a lot of rehearsals involving our CG characters. Talking about interactive lighting with the lighting guys and again with the stunt guys. Trying to figure out, for example, how we were going to manage to stand in Colossus — how we were going to block the various fight sequences versus him just standing there talking. Making sure we were always shooting in a way that we could add him back into the shot later. That type of stuff. Casting for it as well. You really get a good opportunity to get heavily involved in most aspects of filmmaking, which is one of the cool things about my job.

Then you get into production. In production, you carry all that forward. You’re working through all those things while you’re shooting on-set. You’re making sure that whatever they’re doing with the practical effects can then merge later with our digital effects.

With the stunt guys, as in the case of Colossus fighting Angel Dust, there’s a lot of back and forth. One shot we would have our stand-in there. One shot we would have Gina Carano hitting pads. Some shots we would have our stand-in on risers. A lot of back and forth trying to make sure our fight choreography would play out as realistic as possible once the CG was added. Additionally, we were responsible for capturing all of the digital data needed later for the visual effects teams.

Lastly, in post, it’s really about creative management with the work of all the various VFX facilities, making sure there’s continuity between all the work, and all the work is up to the level we want on the film. I’m really a liaison between the director and the facilities in a lot of ways. Plus, I’m trying to bring my own knowledge to the table in terms of making sure the shots have everything that’s going to make them look as good as possible.

DS: You’ve mentioned budget quite a bit. Everyone in your position, even on the biggest films, says the same thing, “It’s always about time and money – there’s never enough.” From your perspective, where do you most see the budget constraints impact the visual effects work? Does it impact the number of shots more than the degree of complexity?

JR: It’s both. On this film, there were certain sequences where Tim would lay out the scene from the script and I would breakdown what visual effects would be needed. Then the budget would come back and we’d be double what we could pay for that scene.

Then the discussion became, “Okay, well, do we cut the shot count in half and trim our scene or do we cut that scene entirely and put the money to a different scene?” There was a lot of that going on when it came to the budgeting because we were so tight. It would have been nice if it was more like, “Well maybe we just don’t do this big one here…or maybe we trim this one a little here.” It was pretty much heavier block cutting for us.

DS: We you at least able to figure out those compromises early on, or did they come once you were on-set and had a better idea of how the scenes were really coming together?

JR: Tim and I agreed at the beginning, when we were in prep, “Okay, we know we’re only budgeted this amount. But let’s shoot everything so that we have it. That way if we get more money, we can go back and make the rest of the scene the way we wanted to, as opposed to then having to go back and re-shoot it, which is much harder to do.” We agreed we’re just going to shoot it all, we’re going to get it all on camera, and then we’ll battle with the studio later in terms of what the budget can be.

That’s not always the way you do it, but in our particular circumstance, because the budget was so tight, we felt strongly we’d get more money if they really liked the movie. That ended up working out because they did end up giving us more and we were able to get more visual effects into the sequences.

DS: What was most challenging for you on this film? What gave you the most grey hairs and sleepless nights?

JR: It’s funny. Every week it was something new. Let’s talk specifically about the animation. Tim comes from an animation background. He’s very particular about animation. I would say, in general, animation was our hardest things to get through when it came to working with Tim because he was so particular about it. More often than not, we’d be working through something and he’d make comments and I’d be like, “Ah, yeah, you’re right. Exactly right.”

He has such a good eye for animation. I really respected all the decisions he made, even though it was a lot of work for us to get through. At the end of the day I always knew all his comments were going to make whatever we were doing better. When you’re doing a lot of animation work, obviously it slows down the rest of your production because you’re waiting on those shots to be completed. That can give you grey hairs right there. You know all that stuff is sitting, waiting to get done as time is ticking away. That was one.

The look of Colossus was another. It actually worked out pretty well. Digital Domain developed the look with us. Tim and I had talked about it and when we started, I had a really clear idea in my head of what look he wanted. We didn’t have to do a lot of research and discovery on his look. I felt like we had an endgame to shoot for all along. We could really just keep pushing towards that direction, adding and adjusting, adding and adjusting. It wasn’t a lot of, “Let’s try this, no, let’s try this, no let’s try this.” Colossus actually went pretty fluidly and was fantastic.

Same even with NTW’s effects, where the only brief Tim gave me was that he really liked the concept and look of how fuel-air bombs exploded. They burst and emit a cloud of fuel. Then, the fuel ignites. They produce an interesting ignition pattern, which was something he was really into.

Deadpool doesn’t have any effect-sy effects nor do any of the bad guys. Then with Colossus, even though he’s a fully CG guy who’s all metal, there’s no effect-sy things around him. The only supernatural effect-sy thing was NTW. Our movie is so grounded and so gritty that we didn’t want to take it someplace where she stood out from everything else. The fuel-air explosive looks like something you’d see in the real world, so we used that as the foundation for her effect.

Because her power happens so quickly, we wanted to create a level of build-up. So we started looking at solar flares because they contain so much energy — they shoot out, get bent and pulled back in by the sun’s gravitational pull. They have an interesting look that we thought would integrate nicely with the fuel-air bomb. We added it to the effect but really tried keeping all of it as grounded as possible so that NTW didn’t stand out in the film.

There were three hard scenes. First was Colossus’ fight with Angel Dust. It was just so complex in terms of the back and forth live action and how that was incorporated into the fight. They’re grappling together, he’s holding her, she’s flipping up off of him. All that fighting with a CG character is a lot to work out and integrate.

Digital Domain ended up having to do things like adjust Angel Dust’s practical arms or remove her practical arms and put CG arms on her so she could properly hold Colossus. Different things like that. We did a lot of mix and match, trying to make everything work. They did a great job.

The second one was the freeway car assault because it’s an entirely digital environment. Everything outside the car is a hundred percent digital. We’re using a two phased process where we’re world building but at the same time we’re doing all the animation. Again, Tim is very particular about animation, so there was a lot of animation being done while at the same time we’re trying to build the world around the car as photo-real as possible.

Lastly, the carrier collapse sequence was tough because that was also an all-digital sequence once the carrier starts lifting and collapsing. We shot the guys on a gimbal deck about thirty feet in the air. They kept fighting on the deck while it was tilting and lifting. At one point Deadpool is hanging off the side. We shot all that, but we still had to replace the entire world around them, how they interacted with the ground and all the stuff flying past them. There was a lot going on there as well.

DS: If you know Tim Miller, you can see his personality and sense of humor all over this film. Tell me a little bit about your working dynamic with him.

JR: I would have to say that Tim is one of my favorite directors I’ve ever worked with. I really loved his style. I really loved his personality. He’s brash and straight-forward and though some people don’t like it, I always thought it hilarious. His personality was, as you said, so perfect for this movie, so perfect. It’s so like him.

Working with him was great. I really enjoyed it. He understands visual effects, so you could have a real conversation about them. He knows what you’re talking about. You don’t have to spend a lot of time explaining things. You can really discuss what the creative results of a certain technical process will look like. It was great. I really did enjoy it.

Even in post, when we really pushed through a lot of final work, he trusted us to get it done. It really was an amazing experience.

The way he directs is cool because you can tell he spent a lot of time in animation and mo-cap. It definitely translated over into his ability to work with actors and work on-set.

DS: During the course of production, once you started really seeing the film come together, was there a time when you said to yourself, “This is something really special. This is going to be great!” Was there ever an “aha” moment?

JR: Sure. Ryan [Reynolds, who plays Deadpool] is so funny on-set, and so nice. Tim was great. There was no real attitude on-set. When we started seeing the shots, when Ryan started riffing with T.J. [Miller, who plays sidekick Weasel], sometimes I was like, “Oh my God. Are we really going to do that?” And we did it. I really felt, “That was amazing.”

That’s when I started to realize we were doing something completely unique and pushing the envelope in a way that no other movie, at least of this genre, had ever done. In reality, when you’re on-set shooting a movie, you know what kind of movie it’s going to be. You know if you’re working on a movie that is going to be good or not. Definitely, when we got into shooting, we knew we were shooting something that was going to be good. We didn’t know it was going to be this good, this huge, but we always felt strongly about it.

DS: From a personal standpoint, what gave you the most sense of satisfaction on this film?

JR: Visual effects wise, it was tough in that we had an insane amount of work in a very short period of time. We ended up doing 1500 total shots on the movie when we originally budgeted it out at about 700. In addition, that time frame got compressed so at one point we only had four weeks left and 800 shots to go. My producer and I would look at each other and say, “We have no idea how we’re going to get this done.” It was crazy.

What I was really happy about was even under all that time and budget constraint, we managed to get a lot of work done that I am really proud of. I always say that in visual effects, “We can’t save a movie but we sure as hell can screw it up.” I definitely didn’t want to be the guy that screwed up a good movie, that’s for sure.

Overall, I’m really proud of Colossus, that he plays as a character, that everybody likes him. They believe him as a character. Some of the funniest moments in the movie are with him. It was really important to me that he never stood out as a digital character but actually felt like somebody that was interacting with Deadpool.

The car chase was great. That’s all CG. Everything out there is CG. There’s one shot where Deadpool flips off of Colossus and cuts his hand off. Colossus and Deadpool are all CG. It was great. There were some great moments in there where I felt like we really nailed the look. I’m into visual effects that support the movie and are more invisible. That being said, we just did a super hero movie. I’d rather people talk about how cool it was when Deadpool was fighting, and people were getting cut up, and it was gory and gross, rather than the fact that CG blood was flying everywhere, and it was a CG blade.

It’s not that often when you get to work on a film that’s really good, that you’re proud of, and also had a really great experience. And when I say it isn’t that often, I really mean almost never. I think this would be the second time in my entire 25-year career in film.

that the film definitely had a shoestring budget compared to your standard visual effects movie. So that was definitely going through my mind. As I was reading and breaking the script down, I was trying to work out what and how we were going to do things in order to make the visual effects work within our budget. There was a lot of back and forth with Tim Miller [the film’s director] as far as trying to decide what we could get into our movie, what we couldn’t get into our movie, how many shots we could have, and if we shot it a certain way would we be able to get away with more. I was considering any trick we could use to get as much out of our VFX budget as we could.

Source: AWN/VFXWorld

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