Nov 25

SKYFALL: Arundi Asregadoo – Superviseur VFX – MPC | art of vfx

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Interview with Arundi Asregadoo – Superviseur VFX – MPC
from Vincent Frei @ art of Vfx.
http://www.artofvfx.com/?p=3105

Nov 13

Seminaries@ Megafront

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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.

 

http://eepurl.com/rFYVn

Nov 12

Hypnotisören breakdowns | Swiss

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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.

[vimeo=http://vimeo.com/52916765]

[vimeo=http://vimeo.com/52916965]

[vimeo=http://vimeo.com/52916966]

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

Oct 20

Toyota | Hornet & Blinkink

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Great variety of animation technics  work from Hornet and Blinkink. Great to see some swedish contribution from Major Briggs.
Directors Sumo Science, Yves Geleyn, Gabe Askew, and Major Briggs bring four very different – but equally cool – perspectives to the “Stories of Better” campaign produced with Saatchi & Saatchi for the 2012 Paris Motor Show
[vimeo=http://vimeo.com/51545017]
Directed by: Sumo Science
Produced by: Julie Crosbie
Exec Producer: James Stevenson Bretton
Post Production: MPC/WAM London
[vimeo=http://vimeo.com/51248730]
“1,000,000 km Courier”
Director: Yves Geleyn
Executive Producer: James Stevenson Bretton, Jan Stebbins
Producer: Zack Kortright
Supervising Technical Director: Sang-Jin Bae
Live Action Producer: Joel Kretschman
Editor: Anita Chao
Director of Photography: Ivan Abel
Gaffer: Michael Yetter
Key Grip: Jeremy Rodriguez
Art Director: Elise Ferguson
Fabricator/Sculptor: Ben Kress, Michael Lawrence
Fabricator: Tim McDonald, Peter Erickson, Jacob Dyrenforth, Hayley Morris, Michaela Olsen
Animator: Matt Somma
Previs: Lukas Wadya
Animators: Mike Luzzi, Mark Pecoraro
Compositors: Peter Fink, Allison Kocar
Music: Huma-Huma
Breakdown
[vimeo=http://vimeo.com/51249849]
[vimeo=http://vimeo.com/51533776]
“Think You Know Hybrid?”
Director: Gabe Askew
Executive Producer: James Stevenson Bretton, Jan Stebbins
Produced by: Zack Kortright
Post Production: Hornet/WAM London
Supervising Technical Director: Sang-Jin Bae
Editor: Anita Chao
CG Lead: Ylli Orana
Animator: Sean Thorpe
CG Generalist: Rich Kim
2D Animation: Anne Calandre, Jacob Kafka
Modeling: Meghdad Asadilari
Compositor: John Harrison
[vimeo=http://vimeo.com/51544513]
“27 1/2 Year Journey”
Directed by: Major Briggs
Produced by: James Stevenson Bretton
Exec Producer: James Stevenson Bretton
Post Production: Major Briggs/WAM London
Oct 15

Kon-tiki article in DW | Fido

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Article from Digital media world about Fido’s work on Norwegian feature film Kon-tiki.

http://www.digitalmedia-world.com/Features/kon-tiki-crossing-the-pacific

Oct 14

Great scandinavian vfx work | Kon-tiki

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SPOILER ALERT….

Check this 10 minute demo including the vfx work for the Kon-tiki movie. VFX in order of apperance:  Storm studios (0:00-3:04), Fido (3:04-4:11), Important Looking pirates (4:12- 6:50), Gimpville (6:51-9:26)

 

[youtube=http://youtu.be/gFpL2XzAn44]

This demo contains some of the over 500 effect shots in the motion picture KON-TIKI. Courtesy of the 4 Scandinavian VFX companies that contributed: Gimpville, Important Looking Pirates, Storm Studios and Fido. Directed by Joachim Roenning & Espen Sandberg. VFX Supervisor: Arne Kaupang. Music by Johan Söderquist.

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
Oct 03

OLF | Important looking pirates

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Check out the latest Water simulation extravaganza from the team at Important Looking pirates. Battleship VFX in a 50 s tvc. Impressive as always (I’m a bit biost 🙂 ) !

Don’t forget to watch the breakdown.

ttp://vimeo.com/50674617

After wrapping up our work for the feature film Kon-Tiki, the Norwegian director duo Joachim Rönning and Espen Sandberg offered us a new great challenge!
They were directing an epic piece for the Norwegian oil guild. The 60 sec full HD spot is about the “secret” wonders of the world and the impressive engineers behind those.

The challenge was to create 50 seconds of full CGI with complex dynamic water simulation. A task that was right up our alley having completed some very complex water shots for Kon-tiki.
We did the simulation work with the Naiad fluids solver and we used our in-house volumetric render engine “Tempest” to be able to render the millions of particles needed to convey the scale of the shots.
By the end of the show the work files took up 30 terabytes of on-line storage, a factor that is easy to overlook when working with complex simulations.

It was a great pleasure to work with Joachim and Espen on this spot and we are very happy with the result!

CLIENT – Norsk Olje&Gass

  • Production Company: Motion Blur
  • Director: Roenberg
  • Producer: Espen Horn
  • Prod manager: Elisabeth Mala Maxwell-Stewart


Online: Storyline

  • Grading: Jean-Clement Soret – MPC London


ILP

  • VFX Supervisor: Niklas Jacobsson
  • VFX Producer: Måns Björklund
  • 3D: Bobo Skipper
  • 3D Artists:Jonas Andersson, Daniel Rådén, Niklas Ström, Bobo Skipper, Patrik Wedinger, Jason Martin, Victor Carlander
  • 2D: David Wahlberg, Niklas Nyqvist, Jens Tenland
Sep 30

Breakdown – International Football Billboards for TV4 Group

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[vimeo=http://vimeo.com/49664229]

Breakdown for International Football Billboards for TV4 Group. The movie is made with still image footage, camera mapping and some 3D

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]