Mar 07

LOST IN SPACE Trailer

Check out this beautiful trailer from upcoming Netflix series Lost in Space.
Lots of cool shots from Important Looking Pirates (VFX Supervisor: Niklas Jacobson),BUF,Cinesite (VFX Supervisor: Aymeric Perceval),El Ranchito,The Embassy,Image Engine (VFX Supervisor: Joao Sita),Mackevision,Rhythm & Hues,
Trixter (VFX Supervisor: Michael Wortmann),

Jun 04

Everest official trailer – ILP

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Check out some of ILP shots that made it to this brand new trailer for Everest. Looks exciting!

VFX by: ILP, Framestore, RVX, One of us, Union vfx

 

Read more at: http://www.everestmovie.com/

Feb 05

VFX SUPERVISOR / SENIOR COMPOSITOR | Snowcloud

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Snowcloud is looking for a VFX SUPERVISOR / SENIOR COMPOSITOR.

In-house position for the feature film SIV SLEEPS ASTRAY by Catti Edfeldt and Lena Hanno Clyne, based on the book by Pija Lindenbaum.

About the project

Snowcloud Films is producing a live action feature film for children 4-7 years old AND doing all the visual effects in its studio in Stockholm. The film will be shot in Luleå later this spring and R&D on the VFX has already begun.

About 150 vfx-shots are planned for the film, which is currently in final financing, and pre-production is planned to start in March 2015. We are now looking for the creative lead for the VFX-work, to be part of the planning and pre-production, onsite for the shooting and making sure we complete on time and on budget together with the producer Petter Lindblad, VFX-consultant Torbjörn Olsson and the rest of the team.

The position is planned to start in march and continue until september, and we plan to produce ALL VFX inhouse, working close together with the directors to optimize and make decisions on how to solve each type of VFX. We’ll also collaborate on the team to remove and simplify VFX that might be too time consuming and complex for our film, or in fact unnecessary to tell the story. The most important thing is the story of the film, and we’ll make sure it is told in the best way possible with or without VFX.

Our tools and your experience

We work with Z-brush, Maya and are currently doing R&D with Vray 3.0 and Yeti. Compositing will most likely be done in Nuke and the plates will be shot with an Arri Alexa in ProRes 4444 2K (2048 x 1152), 12bit Log-C, with some materials coming in Arriraw (greenscreen) and some in 6K from our drone shots taken by a Red Dragon Epic in 6K RAW.

We believe that you have worked in a senior capacity on a feature film or larger project before, and is willing to work across the borders of the production to make sure we solve the VFX in the best way possible within the timeframe and budget, and at the same time making sure the story comes through properly.

About you

You live in Stockholm or can commute here, on a daily basis. You’re not set in your ways after having worked on higher budget films, but see the possibilities with a smaller team working closely with the director’s, helping them make decisions that make the VFX work possible and keeping their vision.

WE’RE NOT SUBCONTRACTING ANY WORK, ALL WORK WILL BE DONE IN OUR STUDIO.

For applications and questions, please send an email to petter.lindblad@snowcloud.se.

_____

Petter Lindblad

Producer

Snowcloud Films AB

Swedenborgsgatan 28

118 27 Stockholm

Sweden

Visitor address: Götgatan 9, Stockholm

e: petter.lindblad@snowcloud.se

m: +46 733 321 600

Sep 19

Ti – Erfrischungstee – BTS – FIDO

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Nice breakdown from Fido.

Two hikers encounter a deer by a picturesque creek. Fido did CG manipulation of a stuffed animal to create the illusion of a living (and rather rude) deer.

Agency: Jung von Matt
Production company: Tony Petersen Film

Fido VFX crew:
Producer: Claes Dietmann
VFX Supervisor and CG artist: Anders Nyman

Jun 23

Gold Lions VFX in Cannes

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Gold Lion

Congratulations to MPC for winning a gold lion in Cannes for in best film craft category “Visual effects”.
Adam Berg directed it and Mattias Montero was the DOP.
ASSASSIN’S CREED IV BLACK FLAG, DEFY
UBISOFT
GAMING PROMO
MPC London, UNITED KINGDOM

http://winners.canneslions.com/2014/craft_film/entry.cfm?entryid=3742&award=2

CLIENT: UBISOFT
PRODUCT: GAMING PROMO
ENTRANT: MPC LONDON, UNITED KINGDOM
TYPE OF ENTRY: FILM CRAFT
CATEGORY: VISUAL EFFECTS
ENTRANT COMPANY : MPC LONDON, UNITED KINGDOM
ADVERTISING AGENCY : SID LEE PARIS, FRANCE
PRODUCTION COMPANY : STINK LONDON, UNITED KINGDOM
NAME COMPANY POSITION
VFX MPC VFX
CHRIS ALLEN MPC VFX PRODUCER
FRANCK LAMBERTZ MPC VFX SUPERVISOR
FABIAN FRANK MPC VFX SUPERVISOR
STEPHANIE KARIM MPC VFX LINE PRODUCER
MARK GETHIN MPC COLOURIST
ADAM BERG STINK DIRECTOR
SYLVAIN THIRACHE SID LEE PARIS EXECUTIVE CREATIVE DIRECTOR
DANIEL ABENSOUR SID LEE PARIS ART DIRECTOR
MARTIN WESTBERG SID LEE PARIS ART DIRECTOR
JOHAN JEANSSON SID LEE PARIS COPYWRITER
THOMAS LAGET SID LEE PARIS AGENCY PRODUCTION DIRECTOR
YAËL GUETTA SID LEE PARIS AGENCY PRODUCTION MANAGER
BEN CROCKER STINK PRODUCTION COMPANY PRODUCER UK
SYLVAINE MELLA STINK PRODUCTION COMPANY PRODUCER FR
MATTIAS MONTERO MATTIAS MONTERO DOP
DAVID MARK LEE STINK PRODUCTION DESIGNER
PAUL HARDCASTLE TRIM EDITOR
Brief Explanation:
In this epic live-action and VFX fueled game cinematic, we follow the assault of a Galleon by pirates from the depths of the sea to the very top of the mast. Every level of the ship shows us the torments of this era and the intricate detail shows why a man might take the life of piracy – to free himself from the absurd rules dictated by almighty empires.

The film comprises of a vertical long camera sweep, starting underwater, crossing the decks of the boat and appearing on the upper deck, climbing the mast to end on Edward and the Black Flag, the strongest symbol of the Golden Age of Piracy.

In the end, Edward stands on top of it all, the king of the hill, free – almost a peaceful image. The last scene unleashes the brutality of Edward, a glimpse of his wildness.

Creative Execution:
Ships burn and men are mercilessly slain in this brutal cinematic which seamlessly blends epic live action with complex VFX techniques. The ambition was to capture much of the action in-camera and then integrate bespoke and highly complex VFX to create a gritty, yet realistic spot that keeps the authenticity of the game intact.

The interaction of the live action footage between the CG and 2D environments is paramount – with a high level of detail taking place in the foreground, mid-ground and distance as we pan-up through the ship.

During pre-production a full 3D pre-vis was created of the ship and the concurrent camera move.

The opening eerie underwater environment was filmed in a tank. The floating men were captured on five different plates, which were composited together and enhanced with light effects, debris and bubbles. The boat hull, as the camera transitions upwards, is CG.

The high-action scenes above water are a clever mix of in-camera action and integrated shot and 2D elements. The intensity of the action required separate plates, utilising green screen and the set, which were composited together. Matte painting was used for extensive set extensions and boat environments. Realistic particle and water effects were created from scratch. The addition of CG fog and smoke elements give the impression that the camera is in the thick of the action.

The final stunning wide shot was created by concept artists using matte painting; complete with burning ships, palm trees and a cloud filled sky.

 

May 08

Postnord breakdown | Swiss

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Swiss updated their site with the vfx breakdown of  Postnord project.


Producer: Mattias Bengtsson
VFX Supervisor: Jan Karlström
David Nielsen
Thomas Ekenryd
Marcus Krupa
Simon Ekeberg
Director: Peter Harton
Production Company: Standart
Agency: Forsman & Bodenfors

Apr 18

Updates Magoo

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Some mixed new stuff from Magoo in Söderhamn – from some fluid sims to some logo action,

Apr 18

New stuff | Swiss

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A lot of new stuff from Swiss team including a new reel.