In 1996 it was still REALLY tricky to shoot something against greenscreen, track the footage and track in any virtual sets, let alone add 2D animated characters. But Space Jam pulled it off, thanks to the animation team and the vfx artists at Cinesite. Here’s the 2nd part of the Space Jam oral history at Cartoon Brew.
Near the end of Doctor Strange, the characters rush to Hong Kong to save the precious Sanctum there from the Dark Dimension. But the Sanctum is already destroyed. In order to stop the whole world being swallowed up into the Dark Dimension, Strange uses the Eye of Agamotto to reverse time. The entire street that had been destroyed now reconstructs itself in front of the audiences’ eyes. At the same time, the heroes take on the group of zealots – in normal time. Here’s overall vfx supervisor Stephane Ceretti, previs and postvis supervisor Faraz Hameed from The Third Floor and ILM’s Richard Bluff and how that sequence was achieved. Continue reading How’d they do that Hong Kong reverse destruction in Doctor Strange?
When Doctor Strange first gets plunged into multiple dimensions by the Ancient One, we see him travel through several psychedelic realms. It was a sequence dubbed the ‘Magical Mystery Tour’ by the filmmakers, and in this vfxblog article we look at how specific pieces of the incredible imagery were produced, thanks to overall vfx supervisor Stephane Ceretti, The Third Floor previs and postvis supe Faraz Hameed and Method Studios vfx supervisor Olivier Dumont. Continue reading A visual guide to Doctor Strange’s magical mystery tour
It’s 20 years since Space Jam, which captured a lot of people’s attention via its hybrid animation and vfx process thanks to Warner Bros., Cinesite and a lot of external studios and artists. Read part 1 of my oral history at Cartoon Brew.
Denis Villeneuve’s Arrival is almost an anti-alien invasion film. It’s subtle and purposeful use of visual effects was orchestrated by vfx supe Louis Morin, who enlisted vendors including Hybride, Oblique FX, Rodeo FX, Framestore, Raynault VFX, Folks FX and Alchemy FX to render everything from odd-shaped spacecraft to even odder-shaped aliens. In this interview with vfxblog, Morin discusses the invisible nature of the effects work and some of the harder shots to pull off. Continue reading Arrival effects supe on holding back on vfx
The thrilling climax of Doctor Strange sees the titular character travel into the Dark Dimension to confront the evil Dormammu. Crafting a CG creature and a suitably alien-like dimension was challenging enough for the vfx team, but director Scott Derrickson also wanted the shots to reflect the surrealist and psychedelic blacklight look by famed comic book artist Steve Ditko. As I discovered from overall vfx supervisor Stephane Ceretti and Luma’s Vince Cirelli, this was not the easiest brief to pull off. Continue reading Why Creating Doctor Strange’s Dark Dimension Was So Damn Hard
Michael Jackson’s Black or White had a HUGE influence on my interest in visual effects. So it was an absolute blast asking former PDI crew members about working on the morphing sequence, for this article at Cartoon Brew.