Check out Fido’s work on Yoko on SVT’s lilla aktuellt.
Check out Fido’s work on Yoko on SVT’s lilla aktuellt.
Great article about the great vfx work for Kon-tiki from ILP, Fido, Gimpville and Storm studios…
Interview with Arundi Asregadoo – Superviseur VFX – MPC
from Vincent Frei @ art of Vfx.
New seminaries @ Megafront in Stockholm.
Don’t miss next Wednesday 21st of November when Niklas Jacobson, Vfx supervisor at ILP talks about the fantastic work they did for Kon-tiki.
Introducing guest speaker Simeon Balabanov from Chaos Group’s Creative Specialist Team. Simeon has been working as a 3D artist and digital compositor for over 7 years in several visual studios. He is a new addition to the Chaos Group team, bringing production experience and technical knowledge. He will walk you through key features in V-Ray and Phoenix FD, share the latest product news, as well as answer your questions.
And if you think this is all we are to occupy your time with, brace yourself for a surprise – we are inviting the VFX magicians of the ILP team. They will get you deep into the vast Pacific and the details of their effects shots from the epic “Kon-Tiki” – the coming Norwegian feature film on the legendary ocean journey of Thor Heyerdal in 1947.
At last some breakdowns from Swiss on the Swedish feature film Hypnotisören, directed by Lasse Hallström.
As usual Swiss shows some invisible and impeccable VFX.
Director: Lasse Hallström
Cinematography: Mattias Montero
Producers: Börje Hanson, Bertil Ohlsson, Peter Possne
Line producer: Serina Björnbom
Co-Producer: Per-Erik Svensson
Efterbearbetningsansvarig: Peter Bengtsson
Visual Effects Producer: Erik Holmedal
Visual Effects Supervisor: Leo Wilk
Visual Effects Coordinator: Adam Wittsell
Lead Digitial Compositor: Johan Vikström
Lead Digitial Matte Painter: Marko Ljubez
Digital Effects Artist: Simon Ekeberg,David Nielsen
R&D Techonology: Niklas Aldergren, Björn Jankes
Visual Effects Editor and Artist: Jon Wesström
Digital Compositor: Markus Bergqvist, Josef Bergström, Mikael Engzell, Thomas Ekenryd ,Mikael Ewald, Marek Jezo,Marcus Krupa, Filip Orrby,Sandra Scholz
Follow the production blog from
Milford film for the GIFF vignette and watch the festival dragon come to life! blog
Have a look at the excellent work that the great team @ ILP did for the Norwegian feature film Kon-tiki. In this breakdown we will see some real eye candy and maybe one of the best “CG-Sharks” sequence ever made for the big screen. I’m again biost, so have a look and see for yourself.
In the summer 2011 ILP was awarded a massive sequence for the upcoming Norwegian feature film “Kon-Tiki” directed by Joachim Roenning and Espen Sandberg. The film is about the legendary explorer Thor Heyerdal’s epic journey crossing the Pacific on a balsa wood raft in 1947.
Our sequence takes place during a major emotional peak of the movie, as the crew struggles with internal conflicts while facing a critical situation involving white sharks.
ILP delivered 58 shots in total, with plenty of hero shots and some extremely complex fully computer generated scenes.
One of the greatest challenges with this sequence was that it had to look a 100% believable in order to not spoil the emotional moment, which put incredible high demands on everything from models, textures, lighting, animation to compositing and integration of the computer generated elements into the filmed plates.
Another extremely challenging part of our work was all the effects work, such as, blood, bubbles and cutting edge water effects. We made a few 100% CG generated shots that needed to cut seamlessly with the live action footage. We used state of the art software such as Exotic Matter’s Naiad for water simulation and we also used our proprietary render engine, Tempest, for rendering additional particles and volumetric effects such as blood. But most important of all was all the hard work put down from our incredibly talented artists.
We made a digital double of the crew’s pet parrot Lorita. The digital parrot was used for the scene when Lorita flies into the water, and also when the sharks attack her in the water. Using a digital double of the parrot enabled the directors to play out the scene in a very controlled fashion, and it makes for some stunning visual effects. During principal photography we took some time aside with the real parrot, to take plenty of reference photos and films to document the details in shape, feathers and subtle movements of the real parrot. She was then digitally reconstructed using software such as Maya and Mudbox, where we sculpted her, attached feathers and fur, and rigged her for animation.
Our work with our digital sharks begun immediately when the work was awarded. We watched endless hours of documentary films like Planet Earth to study shark behaviour and underwater photography in order to prepare for the task. We made a digital shark using Maya, Mudbox and Z-brush. Once we had made one photorealistic shark we were happy with, we started creating variations with slightly different textures and sizes. We also had to make a custom close up shark with plenty of details for a hero close up shot when the shark gets slain on the raft.
The biggest challenge for us was the high detailed water simulations that had to be created for the movie. Fortunately we had plenty of experience of liquid simulations since we where early adopters of Exotic Matter’s fluids solver Naiad. We have been their clients since the alpha days in 2008 and over the years we have done several high end commercial productions with Naiad. It still required lots of research and testing of various techniques to reach our goal. One of the major scenes is when the sharks are attacking the parrot in the water. This scene was made from scratch in the computer. The final water simulation took about a week to simulate, it consisted of hundreds of millions of particles that we used to create a surface mesh to render in V-Ray. By the end of the project this shot took up approximately 10 terabyte of disk space. It was both an artistic and technical challenge to say the least.
The compositing was done in The Foundry’s Nuke software. In addition to all compositing of CG elements, we had plenty of complex clean up work such as removing a rubber shark that was used on set and reconstructing clean plates in order to put our digital shark in the scenes. The underwater shots required careful study of references and artistry in order to nail subtle changes in color and depth haze and balancing levels in order to make our digital shark integrated with our live action plates. Additional particles and debris were created and composited to bridge the live action with our CG elements.
This was an extremely exciting project for us to work on, and we would like to extend our thanks to the all people involved in this project. Even though the production budget was huge in Nordic measures, it is still a fraction compared to the international blockbuster movies. We still feel that we managed to create some of the better sharks shots seen in film to date.
A new interview with Mattias Lindahl and Johan Gabrielsson about how they used v-ray for their shots in “Kon-tiki”CSS_Fido
Check out Storm studios great work on New York set extensions and digital simulated water for Kon-tiki.
This year’s most anticipated Norwegian film Kon-Tiki has now been released, and Storm Studios is proud to be part of the adventure. Along with directors Espen Sandberg and Joachim Rønning we created images of a 1946 New York. This was achieved by using a combination of footage from the set in Bulgaria, Matte Paintings, actors shot on green screen, CG cars and CG smoke.
Storm Studios has also replaced much of the pacific ocean with digital simulated water – one of the most challenging tasks in visual effects. Effects Supervisor Magnus Pettersson worked several months on developing the water pipeline. According to Magnus one of the most challenging tasks was to handle all the data that the water simulations created. Each version produced 1TB of data that needed to be processed and rendered. When our simulation machine with 96GB of RAM ran out of memory, we knew we were in for a treat.
We are very excited about our raging seas in broad daylight for the film’s big climax, and Mode Steinkjer from Dagsavisen Newspaper says “the special effects are impressive, whether they represent the actual events or contribute to the metaphysical buildup of the crew’s psychological state of mind”.
Great article in Norwegian Rushprint about the work that production VFX supervisor Arne Kaupang did on Kon-tiki and his collaboration with all the VFX houses involved.