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
Dec 26

UNDERWORLD: AWAKENING interview with directors Måns Mårlind and Björn Stein

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UNDERWORLD: AWAKENING interview with directors Måns Mårlind and Björn Stein

UNDERWORLD: AWAKENING interview with directors Måns Mårlind and Björn Stein image

Helmers Måns Mårlind and Björn Stein talk Underworld: Awakening.

It’s not always easy being the new kids, but that’s precisely the position Måns Mårlind and Björn Stein, a pair of Swedish film directors, found themselves in when they signed on to direct Underworld: Awakening. Sure, they were the guys in charge, but they were coming into a franchise that was already successful. There were additional challenges to face, beyond the fact that the “Underworld” mogul, Len Wiseman, was married to their leading lady, Kate Beckinsale. The fourth film also marks the first one to be shot in 3-D, which was a new experience for everyone involved. .At Comic-Con,, the two directors sat down with journalists to discuss the experience of joining the franchise, as well as working with both Wiseman and Beckinsale, and their unique approach to directing.

Prior to our final interview with the directors of a film once titled Underworld: New Dawn, we spoke to star Kate Beckinsalewho returns as Selena, Theo James about his role as David as well as Michael Ealy as Detective Sebastian and producerLen Wiseman contributed as well.

– Interview by Peter Dimako, Editor. Transcribing and intro by Anders Wright.


Have you guys always used this tag-team approach to directing? We’ve been told if it’s not your day to direct, and someone approaches you on set, you remain mute.

Måns Mårlind: The thing is, we’ve been working as a team for 10 years, professionally. We’re friends since we were kids, like 10 years old. And we worked as directors on our own before we started up as a team. But we got a script, like, ten years ago. I got it, it was a really cool script, it was called “Disco Kung-Fu,” it was a gay kung-fu story set in the suburbs of Stockholm with American disco music, and they [the characters] were all Arabs. And I was like, ‘I want to do this.’ And I called Björn, and I was like, ‘I got this great script.’ And he says, ‘I got something similar’ In Stockholm, you don’t get similar scripts.

Björn Stein: Those kinds of scripts don’t circulate anywhere, actually.

Måns Mårlind: So we said, fuck, let’s do this one together. That was the first one. The thing was, then, was how we gonna do it, right? ‘Cause most directing couples are focusing on one taking the actors, the other guy takes the technique, the camera and stuff. But we liked everything, so that’s why we decided to do it every second day.

I don’t know how you came to the film, exactly, but Len is the overlord of the franchise. Did he bring you in? Was it the gay disco movie that got you the job?

Måns Mårlind: No, that one—

Björn Stein: That almost got us fired [laughs].

Måns Mårlind: We did a film five years ago called “Storm” which has a lot of similarities to “Underworld,” in a way. It’s a completely different story and so on, but it has the same sensibilities, I think. It’s set in a totally different world and it takes itself seriously without becoming pretentious. And there’s a lot of action in it. That’s the one, I think.

Björn Stein: That got his attention, yeah.

How do you try to appeal to the same fan base who have been watching Len direct these movies with a similar look for years?

Björn Stein: For one, we have Kate, which is a look, just that. She is Kate, and she’s in latex. So that’s one thing. And then we said, ‘well, this one is in 3-D,’ and that presents a lot of changes. So we tried to use a lot of the building blocks we had from the other ones, with the blueish kind of look. Keep that, but this brings something else to it. So it had to be lit different, and also the world representing is something different. Man has found out about it, so we take the step out into man, which is the surroundings of old town, where they’ve been before. So we had to come up with a concept of how does this world look that doesn’t just feel like Pittsburgh or, or…

Måns Mårlind: Chicago.

Björn Stein: Or New York or whatever. But at the same time, feels like a relative to the world it’s been. So that was the challenge, to create that. New, but not too new.

Måns Mårlind: But also, shooting with 3-D, suddenly you get depth and people poking things at you. So we said, ‘let’s do it right.’ The other Underworlds is a lot of handheld, a lot of gritty stuff, like that. We like to shoot like that, that’s how we shot a lot of our movies, but to get really good 3-D you compose in different ways. It’s a totally different camera language, much more like a Riefenstahl kind of style. It’s very dogmatic. So we thought, ‘let’s use this.’ It’s like what Björn said, to apply this to the new look. I think the 3-D helped us create a new vibe to the camera language.

What was it like coming into this franchise? Len’s the producer–

Måns Mårlind: Yeah, he’s married to the star!

Björn Stein: I’ll just call Len and see what he thinks about it!

Is it a little intimidating to come into a franchise where there’s already a guy who has shepherded it along, and a star?

Måns Mårlind: Yes and no. It could be, but Len’s a really, really nice guy. He’s not an asshole. It’s never been a problem. Same goes for Kate. But to reply, yes, we are the new kids in this family. Everybody’s done the other films, the producers and everything. So when we want something, we want to change something, we have to sell it. In the beginning, it was like this—

Björn Stein: It has been working before.

Måns Mårlind: Exactly. So we had to gain a lot of respect.

Oct 03

mårlind&stein | Post production of Underworld Awakening

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Interesting behind the scenes sneak peak from Mårlind & Stein, where they are using a light stage ?  for the new film Underworld Awakening.

 

 

 

 

 

 

 

mårlind&stein: Post production of Underworld Awakening.