If you haven’t already seen it…
Have a look!
Great new taken on how to do a reel. Method lets children to their artists explain what their mom’s and dad’s do… Just great.
Nice little breakdown from Istudios visuals in Karlskrona.
Keep sending stuff to me!
Breakdown of Vfx shots from ” WIP – Secure Intranet in Himalaya – commercial” .
Comped and graded in Adobe After Effects, smoke and snow particles simulation made in Blender. Set extentions created in Blender and rendered inside After Effects with Element 3D.
Watch the full commercial here:
Directed & Edited by Urban Bardå.
VFX by Istudios Visuals, istudios.se
Director: Urban Bardå
DoP: Patrik Nilsson
On-Set Visual Effects Supervisor: Henrik Svilling
BTS footage: Mattias Olsson
Make up: Ibiza Bäckström
Editor: Utban Bardå
VFX: Anton Johansson & Henrik Svilling
3D Artist: Henrik Svilling
Color grading: Anton Johansson
New making of from ILP on their work on ” Samsung curved experience”
Launching a new screen format is not something you do everyday. Combining that with gladiators and swordplay and we’re definitely interested!
After our first meeting with Great Works, we understood that this concept was going to be special.
The challenge was to create an environment which felt rich, yet loopable and economical in terms of bandwidth. This environment was to continue “outside” the normal screen area, and be revealed by using your smart phone in a clever way.
We started by building the environment, the colosseum, and loads of assets. We made a lighting setup that would enable a large team to look develop gladiators, pillars and the myriads of props that were needed to dress the set while at the same time keeping the process flexible and dynamic.
A big challenge was the animation, keeping the loops as short and interesting as possible, while also keeping the iteration times low so that we could meet the client’s vision on time.
Due to data limitations we had to be smart about the layout, arranging all the elements and interactive objects in the colosseum to make it look epic as well as function technically.
The end result was textured onto a dome with the separate objects textured onto cards in 3D space. Then it was up to the pioneering programmers at Great Works and State to carry the torch!
The Samsung Curved Experiment site received FWA’s Site of the day award on June 17th!
VFX Supervisor: Yafei Wu
VFX Producer: Jan Cafourek
Production Assistant: Natalia Przezdziecka
3D Artists: Daniel Rådén, Nicklas Andersson, Damien Delaunay, Jason Martin, Robin Perdén, Jonas Bergholm, Pim Shaitosa, Elin Lavén, Julien Taton, Björn Malmgren
|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.
Great VFX breakdown on Calle Granström and his dedicated team for the game trailer they did on their spare time.
Calle Granström – Direction, Environments, Compositing.
Daniel Bystedt – Character Artist Zongast
Jonas Skoog – Character Artist Mutant
Jonas Ekman – Character Animation
Henrik Eklundh – Character Shading
Love Gunnarson – Concept Art
Ulf Blomqvist/Redpipe – Sound Design
Christian Gabel – Music (Kraterland)
Swiss updated their site with the vfx breakdown of Postnord project.
Producer: Mattias Bengtsson
VFX Supervisor: Jan Karlström
Director: Peter Harton
Production Company: Standart
Agency: Forsman & Bodenfors
Great stuff! ILP’s Kon-tiki breakdown in the this great article about 10 VFX reels that show off the Most impressive Movie Magic of 2013.
By Peter Hall Jan 10, 2014
It’s easy to complain about movies having too much CGI these days. All too often the digital work in films is poorly executed and only stands in glaring, cartoonish contrast with the real material on-screen (take the aerial assault on the White House in Olympus Has Fallen, for example. Or any frame of R.I.P.D.). When it’s done right, though, you don’t even notice it’s there.
That’s not always the case with the below collection of VFX reels. Not everything is flawlessly executed and photo-realistic. However, when you see the before and after on a lot of these, your mind may be blown just a incy, wincy little bit. To that end, here are some of the coolest visual effects from 2013 films– at least that already have VFX reels online. We’re waiting on you, Man of Steel.
You probably haven’t seen Stalingrad, as it won’t open in the United Status until February of this year, but this film about one of the largest and most influential battles in WWII has been a huge hit in its native Russia, where it broke a bunch of box office records to become the country’s highest grossing domestic film. It’s also the first Russian film made using IMAX 3D, and that of course means it’s got more than a few visual effects in it to fill up that supersized frame.
Kon-Tiki, the true story of a Norwegian explorer charting his way across the Pacific using only a raft made out of balsa wood, was nominated for the Best Foreign Language Oscar earlier this year. Considering the majority of the movie is just a few guys floating on a raft fighting their environment to survive, it certainly had to rely on VFX wizards to pull off that which they’d never actually be able to safely film. The below reel focuses on a few key shark sequences in the film, and doesn’t even show one of the film’s most impressive shots (the pull out up from the boat up into the sky and eventually the stars), but it’s worth checking out– especially to see just how much of a difference color grading can make to a film’s look.
The Great Gatsby
This is one of the most impressive VFX reels in the list, but The Great Gatsby has an edge because it’s also the kind of movie you simply wouldn’t expect to have a ton of elaborate movie magic in it. That’s if all you know is the source material, though. If you know Baz Luhrmann directed this, then you’re already expecting plenty of stunning, larger-than-life set pieces.
The Wolf of Wall Street
Yep, Martin Scorsese’s dark comedy about financial criminals does indeed have its fair share of visual effects in it. You can’t really make a big movie these days without dabbling in digital work, even if it’s for something as seemingly mundane as changing the exterior walls of a house. This is the kind of stuff that’s designed so you never even realize it’s CGI in the first place.
As with Stalingrad above, most people won’t actually be able to see James Gray’s The Immigrant until the Weinstein Company releases it some time in 2014 (hopefully, that is; the studio has been known to hold on to a film for awhile). This isn’t a sprawling war story with tanks and planes, though. It’s a small, personal drama set in Manhattan… in 1920, that is. The city that never sleeps certainly looked a little different over 90 years ago and this is just a peak at how they brought it back to life.
Iron Man 3
This is a particularly nerdy reel because it focuses exclusively on just one aspect of Iron Man 3: Tony Stark’s elaborate heads-up displays that he sees inside the Iron Man suit. If you can appreciate a good user interface, though, you’ll dig this.
Like the Iron Man 3 video above, this Oblivion montage shows off all the cool graphical interfaces that Tom Cruise and Andrea Riseborough interact with throughout the movie. It may not be as intense as re-creating a Russian war, but all these flourishes help paint the future of the film.
Thor: The Dark World
And now we get back to the kinds of visual effects people expect from big-budget movies: aliens, outer space and plenty of punching, kicking and flying. There’s a particular focus here on the battles in Thor: The Dark World, and how the scale (not to mention giant warriors) were created. We actually wouldn’t mind watching these entire fights in their precompleted versions, as it reveals a lot of action you can’t really see during these dimly lit scenes.
Pacific Rim is a huge movie. Just utterly massive. And that’s thanks in no small part to the lengths Guillermo del Toro went to create a world in which people climbing inside giant robots to fight giant monsters actually made sense. There’s a really impressive mixture of practical work that’s complemented by digital backgrounds, and it’s that combination that makes this one of the finest pieces of eye candy to come along in quite some time.
Now You See Me
Now You See Me is a fun heist movie. Having said that, one of the frustrating aspects of it is how impossible the actual magic tricks in the film are in the real world. Sure, we’re not expecting any of them to have been performed by actors in real life, but we might have appreciated it more had they been written so that they were a tad bit more plausible. Still, if you want to see how movie magic made it all possible, check out the below video.