Visual Effects & Compositing: rendering

Showing posts with label rendering. Show all posts

Wednesday, October 14, 2009

Vfx Breakdown of G.I. Joe: The Rise of Cobra

"G.I. Joe: The Rise of Cobra" is a movie where big screen heroes leap through moving trains, freefall from the stratosphere, and unleash an ongoing stream of destruction and debris.
How can this happen? here we look.......

The VFX Studios on G.I. Joe: The Rise of Cobra

Digital Domain:

Practical accelerator suits, constructed by Stan Winston Studio, were made available on set for reference and scanning. Digital Domain relied on 3D scanning company XYZ RGB, who used a combination of projected light and stereo reconstruction in a portable setup to create suit geometry.

CIS Hollywood & CIS Vancouver:

The Baroness, Storm Shadow and Zartan (Arnold Vosloo) attack the Pit in search of nanomite warheads. CIS created their subterranean approach using volumetric fluid dynamic simulations as they surprise a group of camels and a herder. “We called that the Tremors or Bugs Bunny gag as the characters hit the base with their mo-pods,” said Hoita. A small set was built for shots of the mo-pods piercing the Pit walls, which CIS augmented with a virtual environment. A massive fight ensues, with further digital environments, pulse weapons and a camouflague suit all part of the effects work.

Prime Focus VFX:

Prime Focus used its proprietary volumetric particle renderer, Krakatoa, to help create the nanomites and the plane’s disintegration. “Rather than rely on texture maps to make it look like something was eating away at the plane,” added Harvey, “we converted all our surfaces into full 3D geometry with volume so you would see metal being eaten away with internal structures and thickness.”

Wednesday, August 26, 2009

Prime Focus VFX Helps Elevate G.I. JOE: The Rise of Cobra

Contributes 124-Shots, Including Building Complex Nanomite Animation Pipeline and Orchestrating Finale Aerial Sequence

Hollywood, CA Prime Focus VFX--formerly Frantic Films VFX--announced that it has contributed 124 visual effects shots for the Stephen Sommers-directed movie G.I. JOE: The Rise of Cobra from Paramount Pictures. Prime Focus Los Angeles, Winnipeg and Vancouver visual effects studios most notably provided expertise in previz, digital environments, fluid simulation and high-volume particle rendering for the movie's action-packed finale sequence involving a complicated aerial scene. G.I. JOE: The Rise of Cobra starring Channing Tatum (Duke), Sienna Miller (Baroness) Marlon Wayans (Ripcord), and Rachel Nichols (Scarlett) premiered in theaters on August 7, 2009.

Prime Focus contributed roughly 70 visual effects shots for the finale's aerial sequence, which features a plane being eaten away by Nanomites, a U.S. developed bio-weapon usurped by evil forces that disintegrates metal on contact. Said Chris Bond, senior visual effects supervisor and president of Prime Focus VFX, This sequence was particularly challenging because we weren't relying on any aerial photography, which would be nearly impossible to shoot at these speeds, but instead created nearly everything digitally the plane, sky, clouds and the destructive Nanomites that eat away the plane.

In addition to developing a custom toolset to generate 3D cloud and sky environments, Prime Focus built a Nanomite animation pipeline and a hybrid matte painting, environment and 3D animation pipeline. The company also dedicated extensive R&D to improving its in-house scene collaboration system that allowed its LA and Vancouver offices to work seamlessly together.

We created a system whereby no single shot lives as a whole, but rather as a collection of project, sequence or shot assets, explained Chris Harvey, visual effects supervisor for Prime Focus VFX in Vancouver. Assets could range from models, shaders, animations, scripts, light rigs and anything in-between. These assets would then be assembled on the fly based on the specific requirements. This facilitated a number of important aspects to our pipeline - artists would always have the latest approved assets regardless of their global location, and we could make changes en masse and have them propagate through various levels of the show, shot, sequence and even across the entire project.

In addition to providing previz for the aerial sequence, Prime Focus artists, with VFX supervision from Bond and Harvey, built a Nanomite animation pipeline using Prime Focus proprietary volumetric particle renderer Krakatoa, along with Autodesk 3ds Max, to render out the billions upon billions of particles that make up the Nanomite cloud. Functioning as an intelligent swarm, the Nanomites are able to track their movements to avoid retracing their steps, leaving no metal untouched until whatever they're consuming crumbles and collapses. To produce this complex destruction, Prime Focus created a series of particle systems, shader networks, and procedural level set tools that would all talk to and affect each other. This created a true geometric volume with thickness and surface properties that would be eaten, rather than paper-thin transparency texture maps.

Using footage of actor Wayans shot on set in a chair with only the practical cockpit around him, Prime Focus artists digitally built the Night Raven plane, including its inner-workings and engine, which are revealed as the Nanomites eat away the metal. Ken Nakata headed up the digital matte painting department in Los Angeles to create the CG sky and clouds using a combination of fluid dynamics, matte painting, CG simulation and particle simulation. Prime Focus also created missile contrails and built the White House and Potomac River entirely in CG. In addition to the finale, Prime Focus also contributed to the opening sequence in which a tank is destroyed by Nanomites and provided interior shots and set extensions for the Cobra base. Autodesk 3ds Max and Maya were the tools-of-choice; eyeon Fusion was the compositor.

About Prime Focus
Prime Focus is one of the world's largest Visual Entertainment Services groups, specialising in providing creative and technical services for the film, broadcast, commercials, music, gaming, internet and media industries. With a market capitalisation of $140m USD, it operates nine facilities in India, four in the UK and four in North America, offering clients access to a talent pool of over 600 visual effects artists worldwide.

Over the last 11 years, Prime Focus has played a pioneering role in embracing digital entertainment technologies, and today offers an end-to-end service deploying robust, best-in-class technology platforms to create a delivery pipeline that lets its customers effectively manage the creative process.

Prime Focus is a market leader in its field, ranked number one in India and number four in the highly competitive UK market. Part of its success has been due to the care and attention it pays to clients at a local level (running studios in London, Mumbai, Chennai, Hyderabad, Goa, Bangalore, Los Angeles, New York, Winnipeg and Vancouver) whilst leveraging the talent, resources and cost advantages of its global infrastructure.

Prime Focus is a public stock company with shares traded in the Mumbai and National Stock exchanges in India (Symbol - PRIMEFOCUS). Prime Focus also owns and operates Prime Focus London plc (Symbol - PFO), which is publicly traded in the LSEs AIM market.

Sunday, July 19, 2009

Autodesk Congratulates 81st Annual Academy Award Winners and Nominees

For the 14th consecutive year, every film nominated for the Best Visual Effects Academy Award was shaped with Autodesk digital filmmaking tools.

This year's Academy Award nominees continued to push digital imagery to new heights—from intricate and complex computer-generated characters to pyrotechnical marvels to invisible effects so realistic they deceive the eye. Autodesk extends its heartfelt congratulations to the artists and technologists who enthrall audiences with spectacular visuals. We are honored that these filmmakers utilize Autodesk digital technology from planning and previsualization right down to final grade.

Autodesk technology was used to shape Oscar-winning and Academy Award nominated films in the following categories:

ACHIEVEMENT IN VISUAL EFFECTS

The Curious Case of Benjamin Button

Oscar Winner—Matte World Digital, tasked with re-creating the early 20th century through Hurricane Katrina, created 3D environments, crowd simulations, and matte paintings using Autodesk® 3ds Max® as its main tool with Autodesk® Maya® 3D modeling, animation, and rendering software complementing the work of some shots.

Asylum VFX used Maya, Autodesk® Smoke® finishing effects software, Autodesk® Inferno® visual effects software, and Autodesk® Lustre® digital color grading system for 189 shots for the photoreal tugboat adventure that included extensive water simulation, digital environments and a computer-generated (CG) submarine.

Lola VFX created 100 age reduction and 200 makeup enhancement shots using a combination of tools, including Inferno and the Autodesk® Flame® system.

Evil Eye Pictures used Maya and Autodesk® Combustion® desktop compositing software to integrate matte paintings and environmental effects set in and around New Orleans.

Iron Man

Academy Award Nominee—Industrial Light & Magic brought the superhero character and his nemesis to life using Maya for animating and modeling the CG suits, as well as Inferno visual effects software as part of its SABRE system for compositing over 400 shots.

Pixel Liberation Front worked on the film for 19 months, relying on Maya to create reference models for extensive previsualization.

The Orphanage developed the thruster look and an exploding mountainside using 3ds Max and used Maya for the Gulmira, Missile Test and Stark Jet sequences.

The Dark Knight

Academy Award Nominee—Double Negative created the majority of visual effects in this film, using a combination of proprietary tools and Maya for most of the 2D and 3D work. Maya fluid dynamics helped shape a helicopter crash sequence. Maya® nCloth and Syflex Maya plug-ins were used for cloth simulation of the Batsuit.

Academy Award Nominee—Framestore produced CG environments, CG doubles and digital prosthetic makeup using in-house proprietary tools and numerous Autodesk software applications, including Maya, Autodesk® Mudbox™ software, Autodesk® Matchmover™, Autodesk® Movimento™, and Autodesk® Softimage® 3D modeling, animation, and rendering software.

BEST ANIMATED FEATURE FILM

Kung Fu Panda

Academy Award Nominee—DreamWorks Animation SKG developed new tools and workflows for this stereoscopic 3D film, using Maya for setting and rigging stereoscopic cameras, building virtual sets, and rendering.

BEST ANIMATED SHORT FILM

This Way Up

Academy Award Nominee—Nexus used a combination of 3ds Max for modeling and animation and Combustion for compositing, among other tools, for this high-definition digital animated short.

Oktapodi

Academy Award Nominee—Gobelins, l'ecole de l'image, a team of six students from the Paris-based school, created this short using Maya for animation.

BEST FOREIGN LANGUAGE FILM

Waltz with Bashir

CinePostProduction, one of Europe's largest film labs, relied on Smoke for the conform and online, Flame for visual effects, and Lustre for digital color grading.

Visual Effects & Compositing