Feb 10

New Showreel | Fido

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New reel from Fido in Stockholm with their latest and greatest including furry Yeti in Yoko, black furry aliens attacking and throat ripping sequence from Underworld awakening and lots of other stuff.

[vimeo=http://vimeo.com/20608302]

Also read this article from Vincent Frei@ Artof vfx  about their work Underworld awakening with Kaj Steveman and Anders Nyman.

What is your background?
Kaj Steveman, Creative Director & VFX Supervisor: I started in this business doing special make up fx some 30 years ago, when I began to experiment with make up in my parents kitchen. I soon went on to do effects for films that my friends made, not so different from the kids portrayed in SUPER 8 actually.
I went on to work at theatres and went on to the make up department at Sweden’s largest TV Broadcaster, SVT. At the age of 25 me and my friends produced our first Horror flick, EVIL ED, an homage to all the wonderful slashers we had seen when we grew up.

Eleven years ago I founded Fido together with a colleague, and right from the start we envisioned that Fido should combine digital and practical effects (prosthetics, animatronics etc) to create a strength that would make us stand out from the other shops in Scandinavia. We also decided to become strong in character design and photorealistic animals. Today I can safely say that we have managed to reach that goal. Fido is one of Scandinavia’s largest and most renowned animation- and vfx-studios, with clients all over the world.

How did Fido got involved on this show?
Kaj Steveman: Fido has worked with the directors of UNDERWORLD AWAKENING before, and we were approached early on to bid for another sequence in the film. Ultimately that sequence was awarded to a vendor in Canada, as far as we understand mostly because of the tax rebates that are applied there.
When the film started to get closer to final cut we were asked to bid for another sequence; the transformation and death of Dr Lane (played by Stephen Rea). Thanks to our track record in transformation scenes, quite similar to what they wanted here, we were awarded these shots.

How was the collaboration with directors Mans Marlind and Bjorn Stein?
Kaj Steveman: Our relationship with them goes way back and is very good. In this production they helped us with a substantial brief of their vision for the effects in the initial stage of our involvement. But on day-to-day basis during the production we mainly had contact with James McQuaide.

Read the full story at http://www.artofvfx.com/?p=2223

Jan 29

Underworld Awakening BTS-Fido | Fido

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Great behind the scenes on Fido’s awesome work for “Underworld Awakening” in S3D.  Spoiler alert!

[vimeo=http://vimeo.com/35759610]


Fido VFX Team
VFX Supervisor – Kaj Steveman
VFX Producer – Nils Lagergren
VFX supervisor – Anders Nyman
Line producer – Anders Singstedt
Character and Animation supervisor – Staffan Linder
Animation – Cameron Scott
                   – Peter Aversten
                   – Rickard Engqvist
FX animation – Björn Henriksson
Animation and modeling TD – Magnus Eriksson
Match moving – Björn Svanström
                          – Joakim Eriksson
Lighting TD – Peter Aversten
                      – Björn Liljequist
Concept artist – Rickard Engqvist
Compositing Lead – Daniel Norlund
Compositing  – Håkan Jonsson
                         – Martin Borell
                        – Tomas Näslund
                        – Pontus Albrecht
On-line – Linda Öhlund
Jan 19

New job @ Fido

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Fido is recruting.. (In Swedish)

Fido söker Marknads- och Säljansvarig

 

Fido film är en av Skandinaviens största animations- och vfx-studios och har hela världen som arbetsfält. Vi är sedan ett år tillbaka en del i den expansiva Forestlight-gruppen och tar nu krafttag för att ytterligare växa på den skandinaviska marknaden.

 

Vi söker dig som brinner för film och vfx, och vill vara med och utveckla vår försäljnings- och marknadsföringsstrategi. Du behöver ha tidigare erfarenhet av liknande arbeten, vara van att driva egna projekt, ha ett stort kontaktnät och god kännedom om den svenska reklam- och produktionsbolagsbranschen.

 

Kontakta oss på jobs@fido.se så berättar vi mer.

Dec 22

KON-TIKI trailer 1

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The latest and 1st official trailer for 100 million (skr) budget film Kon-tiki with vfx from Important looking pirates, Fido, Stormstudios and Gimpville.

The vfx is going to be great and I think the plot will be great as well.

[youtube=http://youtu.be/e4DZ7svBw7I]

Nov 04

Yoko | Fido

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Fido has just finished around 120 shots for German feature film Yoko about a Yeti.

Trailer

[vimeo=http://vimeo.com/31365432]

Oct 25

Attack the block | Fido

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New articles about Fido’s work Attack the block. First one in Swedish 2nd in English… Enjoy the readin

Att skapa ett monster

Biohöstens värsta filmmonster hittas i den brittiska sci-fi-thrillern “Attack the Block”. I filmen anländer de från yttre rymden, i verkligheten kom de från Stockholm. Vi har träffat effektstudion Fido på Södermalm för att höra mer om arbetet.

– Storyn bakom är att det inte skulle ligga så mycket jobb alls bakom de här monstren. De var “men in suits” som filmades. När det väl kom till kritan visade det sig att regissören var inte speciellt nöjd med hur de såg ut, förklarar Mattias Lindahl, Visual Effects Supervisor på Fido.

– Vi började titta på pälsen, försökte få till den här spike-iga looken. Sen visade det sig att han (Joe Cornish, reds.anm) tyckte inte riktigt om hur käftarna såg ut heller. Så vi ändrade dem också helt. Vad du ser i slutändan av filmen är mer eller mindre 100 procent CG, fast gjort utanpå det riktiga.

– Tänderna ser bra ut, problemet var bara att den kunde inte artikulera speciellt bra. Man ville att den skulle gå från hopbiten, försöka sniffa, morra och typ stort vrål… Den klarade inte av alla de här grejerna.

Eftersom monstren inte har några ögon, åtminstone inte vad som syns, arbetade man mycket med tänderna så att de nästan blir som ögon, förklarar Mattias Lindahl. Pälsen gjordes mer spiky och färgkorrigerades – tanken med monstren är att de är svartare än svart.

Hur pass tidigt blev ni inblandade i projektet?

– Jag var faktiskt redan involverad i filmen när jag jobbade på Double Negative i London. Det var tänkt att jag skulle hålla i projektet från deras sida, men då hade jag redan bestämt mig för att flytta hem till Sverige, så jag drog mig ur. Sen drog projektet ut på tiden, så i slutändan kunde inte Double Negative göra jobbet själva för de hade slut på resurser. De ringde till oss och bad om hjälp, så vi tog över jobbet till stor del. De gjorde fortfarande en relativt stor del, det var väl en 50/50 split.

– Vi blev kontaktade i augusti 2010, vi levererade i februari 2011. Men själva det faktiska jobbet tog väl fyra månader. Det är mycket strul om att faktiskt komma till skott, det var mycket delande om vad som ska göras. Ska vi göra CGI eller…

– Du ser att det är en stor gummihand i förgrunden och väldigt syntetisk päls. Vi ändrade om helt i CGI, lade på klor, och när varelserna dör ser vi tänder som “släcks”. Munnen ser väldigt plastig och gummiaktig ut, ingen speciell form på den.

Var det tänkt från början att det skulle göras CGI på det här sättet?

– När jag blev först involverad i London var snacket att vi skulle göra det mesta i grading. Vi skulle grada ner highlights i pälsen. Men då hade regissören räknat med att han skulle få allt det här gratis, att det skulle funka, men det gör det inte uppenbarligen så grading skulle inte ha gjort speciellt mycket. Så det blev mer jobb än vad de hade tänkt sig.

– Här är ett att de största skotten. Vi har multiplicerat monstren. Samma sak här, två stycken monster i dräkter. Vi har lagat golvet för det var filmat på set build istället för riktig korridor, för att göra golvet bredare. Vi har lagat golvet och lagt på en jäkla massa mer monster.

Dessutom lades klor till, samt en extra led för att mjuka upp rörelsen. Mycket arbete ligger bakom för att få den snygga slowmotion-scenen så realistisk som möjligt.

– Det är fullständigt upplyst. Man ser allting, vad som hände också är att resten av monstren filmades mot greenscreen, och en så kallad “poor man’s motion control”. Motion control är en kamerarörelse som kan programmeras så att den gång på gång på gång gör precis samma rörelse. Om man inte har pengar nog, gör man precis samma sak på en dolly. Eller försöker göra likadant, vad som händer då är att det är en himla massa rörelse i olika leder som man är tvungen att stabilisera bort för att få det att passa.

Mattias Lindahl går vidare med att presentera den största utmaningen i filmen, som är en en av slutscenerna.

– Här hade de filmat fyrverkerier på riktigt i rummet, men sättet som det var filmat på gjorde det omöjligt att få loss fyrverkerierna från platen… Vi var tvungna att få loss elementen för att kunna stoppa in monstren bakom. Vi var tvungna göra om dem helt med CG, inte bara det utan få dem att passa precis med de elementen som var filmade för Joe, regissören, tyckte väldigt mycket om det riktiga. Det kom väldigt sent. Det var lite klurigt.

Hur jobbade ni med regissören? Hur mycket är er egna vision? 

– Just det här projektet var det väldigt långt gånget i projektet. Det var inte så himla mycket mer input mer än just utseendet på munnen hade vi ju input på, för att få den att funka på bästa sätt. Det var bara lite lösa idéer om vad som skulle göras. Vi gjorde konceptjobb på det för att få det klart.

– Här har vi lite konceptjobb som vi gjorde tidigt, för att visa formen och tänderna som låg bak i munnen, och försöka visa lite mer vilka uttryck man skulle kunna göra med den här munnen. Vi gjorde även en så kallad motion study, där man kollar på hur pass mycket munnen skulle kunna öppnas. Vi hade en idé som inte riktigt kom igenom i filmen, som en vit haj som kan liksom haka av sitt käkben… Ormar har det också. För att verkligen få ut tänderna.

Även med muskulaturen inne i munnen kom inspirationen från djurvärlden:

– Det är nån slags misch-masch… Vad var det vi sa? “Monkey fucked a fish”, var vad vi kom fram till. Men det måste ju kännas som nånting som kan finnas. Det är ju naturligt att titta på djur och ta olika element. Det unika är ju att det är inte ofta man ser håriga monster. Det fanns en diskussion om kladd eller inte. Regissören ville inte alls tänka åt Alien-hållet.

Är det här det största projekt som ni har gjort?

– I distribution skulle jag nog säga att det är det näst största vi har gjort. “Kick-Ass” till exempel som vi gjorde innan den här, var såklart mycket större i tittarsiffror, men där gjorde vi en mindre del av jobbet.

Hur mycket har ni annars jobbat med just film?

– Normalt har vi kanske en 40/60 split mellan film och reklam. “Håkan Bråkan” var väl den första svenska digitala karaktären i en film, som vi gjorde.

På Mattias Lindahls meritlista finns storfilmer som “Batman Begins”, “Die Another Day”, “10.000 B.C.” och flera Harry Potter-filmer. Fido har, efter bland annat “Låt den rätte komma in” och “Kick-Ass”, fått i uppdrag att skapa en del av effekterna till den kommande “Underworld”-filmen.

Var det “Låt den rätte komma in” som var er väg in i Hollywoodfilm?

– Ja och nej, det handlar mycket om kontakter också. Jag har jobbat mycket i London i många år, och många förfrågningar kommer den vägen. Men absolut, jag tror att “Låt den rätte komma in” har fungerat väldigt bra för oss, det är väldigt många som har sett den, den har vunnit fantastiska priser.

Vilka filmer har de bästa effekterna enligt dig?

– Det är väl de som inte syns. De man inte tänker på. Rendition-effekter används väldigt annorlunda idag. “Avatar” är väl höjdpunkten av vad som har gjorts idag. Till såna saker som man aldrig ser, som att fixa till några hus för att få dem tidsenliga, till exempel. En film som jag jobbade på, “The Bourne Ultimatum”, är ett väldigt bra exempel. Det var före min tid på Fido. Man går från den och tänker inte på att man sett effekter överhuvudtaget. Men det var genomgående genom hela filmen. Jag tycker mest om såna här små aspekter som faktiskt inte syns att man har gjort.

Till sist, hur ska det perfekta filmmonstret vara? 

– Det ska skrämma brallorna av en.

Se “Attack the Block” på bio från den 28:e oktober.

Av Alexander Dunerfors
(alexander@moviezine.se)

 

 

 

 

 

When aliens a-tech!

Effects behind London’s toothy invaders in ‘Attack the Block’

By Mike Seymour and Ian Failes, Fxguide;

When aliens invade a housing project in a rough neighborhood of South London, they probably didn’t expect a gang of teens to lead an uprising.

But “Attack the Block,” British director Joe Cornish’s debut feature, is not your typical alien invasion movie — the sleeper movie became a cult hit on the sci-fi circuit and the talk of last week’s Comic Con in New York. And the creatures were not your typical men in suits, either.

On set, the teens faced stuntmen on stilts wearing monster suits, complete with animatronic jaws. But after the shoot, Cornish wanted something even darker and more menacing, something the soft fur of the suits wasn’t quite able to achieve.

Read more at http://www.thedaily.com/page/2011/10/24/102411-tech-bts-attackblock-1-2/

Sep 28

Coca Cola | Fido

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New short animation for a German Coca-Cola tvc.

 

[vimeo=http://vimeo.com/29596468]

Sep 27

Mercedes | Fido

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Mercedes Benz

TVC for Mercedes Benz where Adam Marko-Nord directed the animation  @ swedish animation house Fido.
[youtube=http://youtu.be/gO1J5bHnoJE]
Production Erste Liebe Hamburg
Animation Fido Film
Live action directed by Paulo Henriques

Agency Jung von Matt Hamburg

AMN Film.

Sep 25

ATTACK THE BLOCK | Mattias Lindahl – VFX Supervisor – Fido

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Another great article from The art of vfx about Mattias Lindahl and Fido’s work on Attack the block.

How did Fido got involved on this film?
Double Negative, who originally was going to do all the VFX work on the film, approached us. Due to timing issues they found themselves short of resources and asked us to bid for the work. I was already familiar with the show since I was involved with it before I left Double Negative when the film was still in pre-production. I was originally set to supervise the work for Dneg, but since I had already decided to relocate to Stockholm, I had to pull out. I was of course thrilled that I still got to work on the film in the end.

How was your collaboration with director Joe Cornish and Double Negative VFX Supervisor Ged Wright?
Really good. Joe is really easy to get on with. Since this was his first feature he obviously had limited experience from working with visual effects. Even though his vision for the film and the look of the creatures was very strong, he was at the same time great at taking onboard ideas from us on how to solve creative and technical problems. I’ve known Ged for a long time. He did a great job presenting our work to Joe. He worked really well as a filter between us and Joe. Making sure the work was presented the right way. I traveled over to London a few times for key meetings. But other than that, most of the communication was done using Skype and Cinesync, which worked really well.

Which sequences did you made this show?
Our sequences where spread throughout the film. We did all the creature shots that needed a CG jaw.

How did you share the assets with Double Negative teams?
The only asset that needed to be shared was the look development Dneg had been doing on the fur. They supplied us with a pre-rendered 4k patch of fur which we used as a base for all the fur replacement on the creatures.

Can you explain to us the fur creation?
It was a combination of tricks really. Shots that did not show any great level of parallax were done completely in the comp. We tracked edges of the creature and used patches from the Dneg fur development to create a new spikier outline.
We created full on CG fur for all shots where either the creature or the camera was moving enough to show a shift in parallax. We created a rough model of the creature and made a rig that allowed us to both animate (or “roto-mate”) the creature to the plate, but also push the geometry around to fill in the areas that was needed in screenspace. A lot of time was spent on roto-mating the creatures. It was of course important that the mesh matched the plate on every frame, but we also had to make sure that the animation was smooth enough to not end up with any sudden twitchy moves that would then affect how the fur behaved.

What was the main challenge with the jaws and claws of the creatures?
One of the key issues with the animatronic jaws was that it did not have the right mechanics in it to show subtle change of emotion. Since these creatures does not have eyes and are mainly black, the only chance we had to get some sort of emotion or facial expressions out of them was through the mouth. The rigging of the jaw needed to be very comprehensive to allow for a number of extreme poses. But it also needed to give the animators a good chance to hit important beats like snarling, sniffing, frowning and of course the big impressive roars. The shading needed to match the practical jaw that featured in a number of shots. So it was important to get the hue, luminance and glows accurate. Magnus Eriksson did a great job with the modeling and rigging using ZBrush, Mudbox and Maya. It was shaded and rendered in RenderMan by Aron Makkai.

How did you animate the creatures?
Most of the time we would start off by “roto-mating” the creatures, using the plate. They had an amazing stunt team on set, so we tried to take as many cues from the original action as possible. In some cases we would go in and add a bit of extra movement to the wrist of the front legs, to make the running motion a bit smoother, or change the shape of the hind legs to make them look less human. The good thing about the creatures being all black apart from the outline was that we could reposition the jaw within the volume of the body. So we would again start off by matching the movement of the practical jaw from the plate. We would then go in and add secondary animation, like bigger head movements or aiming the “eye-line” differently to get a more powerful effect or make them look more threatening.

Where there some shots with full CG creatures?
Yes. A few new ideas came in to the mix late on where we didn’t have any creature plates to work with. So a few of the shots you see are entirely CG.

How did you manage the lighting challenge with a fur so dark?
It was important to Joe that the body of the creatures would never be illuminated. It is part of the storyline that these creatures are blacker than black. So we had to make sure that any highlights in the fur would only fall on the spiky outline and that the fur was always backlit. We created key light passes that the compositor could expand or contract depending on how much light scatter was needed for each shot. It was also important to keep an eye on the black levels in the comp. We had to always keep an eye on the base black levels in each shot to make sure we didn’t go below it.

Can you explain to us the creation step by step of the great shot in which Moses is chasing by many creatures in the corridor?
Oh yeah. This was one of those shots. When you first look at it you go… Ah crap. We are not going to get much sleep over the next couple of months. There were no dark corners to hide anything in this shot. It was brightly lit and a lot of creatures to add.
The main plate consisted of Moses running down the corridor being chased by 2 creatures. We where then given repeat passes shot on greenscreen using “poor mans moco”. (Meaning the camera crew doing the best to re create the same camera move over and over without the use of motion control) This meant that each greenscreen pass needed to be stabilized and then be animated by hand in the comp to make sure there were no sliding feet. Each creature was then tracked to allow us to replace the fur and add CG jaws and claws. We spent a lot of time getting the wrists on the front legs working since the men in suits was running with stilts inside the suits to extend the front legs. This made the legs very stiff and we had to add another joint to make the run work convincingly. Fredrik Höglin who was the main compositor on the shot did an amazing job pulling it off.

Have you created specific tools for this show?
No not really. We do a lot of fur at Fido, so we have already invested quite a lot of time perfecting that part of our pipeline. We are currently working on a tool called SpeedFur, which is amazing. We presented it at this years Siggraph. It was a shame that we didn’t have it finished in time for this show. But we’ll have to save it for the sequel… (laugh)

Did you change your pipeline to fit the show requirements?
No. Thankfully our pipeline is up to scratch to handle this type of jobs. We have a colour space controlled fully EXR based workflow. So it was very straightforward to take Dneg’s lookup table and view our EXR’s through that. This meant that we were absolutely sure that we were looking at exactly the same image as they were over in London.

What was the biggest challenge on this film and how did you achieve it?
Since the original plan wasn’t really to do this amount of work on the creatures at the time of the shoot, on-set data like lens sizes, lens height, set surveys etc was non-excitant. So it made matchmoving extremely challenging. A lot of work had to be done by eye. The matchmovers did an amazing job pulling it off at this high standard.

Was there a shot or a sequence that prevented you from sleep?
Other than the corridor shot mentioned before there was the sequence leading up to it where Moses jump through a room full of our creatures and fireworks going off. We composited lots of repeat passes of the creatures that had been shot with a locked off camera for each shot. Unfortunately the fireworks had been shot in such a way so we could not pick them out from the background. So we had to re-create them in CG. Joe really liked the look of the practical fireworks, so we had to make sure we matched the look of them. This would not have been a problem at all had we known about at the start of the show. But this came in really late, so we had a few sweaty moments there before we got it done.

 

Read the full story here!

The Art of VFX » ATTACK THE BLOCK: Mattias Lindahl – VFX Supervisor – Fido.