If you haven’t already seen it…
Have a look!
Real proud to work with the great team at ILP doing stuff like this. SPOILER ALERT!
In 1953 the US government spent $136,980,576.92 USD to exterminate all Khapra beetles.
Have a look at our new yummy Constantine breakdown and find out why!
Brand new breakdown from the ILP team including their work on the tv-series Constantine.
The word Coblynau is derived from the English Goblin ultimately derived from a Germanic source akin to the German Kobold, via the French Gobelin, which means…carpet?
Anyhow these dudes are scary looking and we had a blast making them! Check out the latest breakdown of our VFX work for the NBC series Constantine and spread the word. More awesome things to come!
27 Before And Afters That Show The Power Of Special Effects
ILP are currently looking for the following FREELANCERS to help us on our epic TV series production “CONSTANTINE” >> COMPOSITOR, ANIMATOR, LIGHTING TD, CHARACTER ARTIST/CREATURE MODELER starting ASAP through to the end of November! If this is YOU please apply through http://ilpvfx.com/jobs/ now and pick#novemberfreelancers from the current openings drop down menu!
Have a look and see this years Swedish Roy awards nominees.
Who is the true winner? Would be interesting to know what you all think.
Milford Film & Animation – ”Car” för Hoyhoy
Stylewar – ”Ett lågt pris blir till” för Netonnet
Milford Film & Animation – Ronaldo ”Free kick” för Nike
Best visuell effects
STOPP/FAMILY – ”I am Brazuca” för Adidas Football
Swiss International – ”Epic Split” för Volvo Trucks
STOPP/FAMILY – ”Fiskarna” för Spendrup/Loka
ILP is crewing up for upcoming projects! They are looking for great animators and lighters to start asap. Contact Magdalena.Berglind@ilpvfx.com now!
Important looking pirates are looking for more pirates to join the ship!
Are you a SENIOR GENERALIST/LIGHTING TD? or a Vfx co-ordinator?
Have a look!
Submit your application http://ilpvfx.com/jobs/
(don’t send it to me 🙂 )
|ENTRANT:||MPC LONDON, UNITED KINGDOM|
|TYPE OF ENTRY:||FILM CRAFT|
|ENTRANT COMPANY :||MPC LONDON, UNITED KINGDOM|
|ADVERTISING AGENCY :||SID LEE PARIS, FRANCE|
|PRODUCTION COMPANY :||STINK LONDON, UNITED KINGDOM|
|CHRIS ALLEN||MPC||VFX PRODUCER|
|FRANCK LAMBERTZ||MPC||VFX SUPERVISOR|
|FABIAN FRANK||MPC||VFX SUPERVISOR|
|STEPHANIE KARIM||MPC||VFX LINE PRODUCER|
|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|
|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.
|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.