Oct 27

Follow the giff vignette blog

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Follow the production blog from
Milford film for the GIFF vignette and watch the festival dragon come to life! blog

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Oct 11

Making of Kon-tiki | Important looking pirates

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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.

[vimeo=http://vimeo.com/51226312]

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.

Creature work

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.

Sharks

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.

Water

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.

Compositing

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.

Crew

    • VFX Supervisor: Niklas Jacobson
    • VFX Producer: Måns Björklund

 

    • Animators: Jonas Forsman, Alexander Damm, Martin Eneroth-Johansson
    • Lead Lighting TD: Daniel Rådén
    • Senior TD: Niklas Ström
    • TD: Bobo Skipper, Björn Malmgren, Saleh Najib, Sigurd Fernström
    • Senior FX TD: Jonas Andersson
    • FX TD: Igor Zanic
    • Lead Compositor: David Wahlberg
    • Compositing: Jens Tenland, Jonathan Harris, Niklas Nyqvist
    • Compositing Assist: Adrian Dexter
  • R&D: Yafei Wu, Eric Hermelin, Pete Reilly
  • Match Moving: Patrik Wedinger, Jason Martin
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Oct 02

Chaosgroup V-ray interview | Fido

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A new interview with Mattias Lindahl and Johan Gabrielsson about how they used v-ray for their shots in “Kon-tiki”CSS_Fido

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Sep 10

Kon-tiki Breakdown | Stormstudios

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Check out Storm studios great work on New York set extensions and digital simulated water for Kon-tiki.

[vimeo=http://vimeo.com/48314160]

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”.

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Sep 05

Kon-Tiki article – Rushprint

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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.

Kon-Tikis visuelle utfordring – Rushpri

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Sep 04

Kon-tiki behind the scenes | Important looking pirates

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Check out episode 5 of the Kon-tiki “behind the scenes” at VG homepage. This time with some of the work that Important looking pirates did on the shark sequence.

In Norwegian and spoiler alert!

http://www.vgtv.no/#!id=55673

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Aug 31

Lotto bilbanan breakdown | STOPP

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Great breakdown and great work from Stopp. They used Softimage for 3D and Nuke for Compositing and worked for about 8 weeks.

[vimeo=http://vimeo.com/48504852]

 

 

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Aug 29

Comhem BB gaming Breakdown | Visual art

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Great Breakdown from VA and their latest spot for Comhem. We want more!

[vimeo=http://vimeo.com/48286190]

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Aug 24

Kon-tiki BTS | Fido

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1st Behind the scenes from the largest Norwegian feature film project , maybe also one of the biggest productions ever made in Scandinavia.

More than 500 vfx shots completed from the 4 vfx companies involved, Fido, Important looking pirates, Gimpville and Storm studios.

This Behind the scenes show parts of Fidos work they did for Kon-tiki.

[vimeo=http://vimeo.com/48126970]

Fido were honored to be asked to work on this epic Norwegian feature about the great explorer Thor Heyerdahl and his legendary crossing of the Pacific on a balsa wood raft in 1947.
We completed a total of 7 sequences, where the most demanding one was the crew’s encounter with a massive whale shark. Work included CG Water, CG Sea Weed, and Creatures; Whale Shark, Varied Species of Fish, a Sally Lightfoot Crab and Mystical Deep Sea Creatures.

Fido crew:
VFX Supervisor: Mattias Lindahl
VFX Producer: Claes Dietmann
CG Supervisor: Staffan Linder
VFX Line Producer: Hanna Bengtsson
Animation: Cameron Scott, Rickard Engqvist, Staffan Linder
Animation TD: Magnus Eriksson
Lead Lighting TD: Johan Gabrielsson
Lighting TD: Björn Liljequist, Peter Aversten
Lead FX TD: Björn Henriksson
FX TD: Max Erlandsson
Lead Compositor: Daniel Norlund
Compositing : Martin Borell, Tomas Näslund, Pontus Albrecht, Mikael Ewald
Water RND: Fredrik Limsäter, Björn Rydahl
Match moving: Björn Svanström, Joakim Eriksson
VFX Editor: Linda Öhlund

Kon-tiki is premiering tonight in Norway.

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Jul 12

NSF Falcon | Fido

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Once again Fido proves themselves by showing their knowledge and craftsmanship in this incredibly beautiful photorealistic falcon for Swedish NSF, produced  by Visual art.  Great work all involved.

Make sure to check out the behind the scenes footage as well.

[vimeo=http://vimeo.com/45560701]

[vimeo=http://vimeo.com/44716425]

Credits:
Production Company: Visual Art
Director: Marcus Lundin
Exec. Producer: Jörgen Lilja
Prod. coordinator: Adam Kuylenstierna
DoP: John Strandh
Mini-Heli operator: Björn Olin, Olin Design Teknik
Editing: Marcus Lundin
Grading: Rickard Ahlbäck, The Line
The Peregrine Falcon: Fido Film (See specified credits below)
2D: Peter Blomstrand, Erik Lindgren, Visual Art
Sound: RedPipe
Music: Deportees - The Doctor In Me

Credits Fido
Creative Director: Kaj Steveman
Producer: Claes Dietmann
VFX- och Animation Supervisor: Cameron Scott
Modelling Supervisor: Magnus Ericsson
Modelling: Björn Arvidsson
Texturing: Joakim Eriksson, Marcus Forsberg
Lookdev: Joakim Eriksson, Anders Nyman
Fur & Feathers: Anders Nyman
Rigging: Cameron Scott, Anders Nyman
Animation: Cameron Scott, Staffan Linder
Light & Render: Anders Nyman, Björn Liljequist
Comp: Martin Borell, Pontus Albrecht, Daniel Norlund
Photoshop: Marcus Forsberg
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